44 Breakout sessions.
3 Keynotes.
3 Discussion panels.
1 Symposium.
Live performances.
Trade exhibition.
Delegate reception.
Shouldn't you be there?
If you're a music educator, it's for you
musiclearninglive!2012 is designed to inspire EVERYONE working in
music education - practitioners and strategists alike.
We have included sessions of direct relevance to the National Plan for
Music Education.
Music Education Special Interest Group
Research Seminar Announcement
Professor Ruth Wright will be visiting the Institute with a team of her post-graduate students from Canada; and there will be three related research presentations:
*
1. Taking the class out of music: social stratification, social exclusion and music education
Dr Ruth Wright, Chair of Music Education, Don Wright Faculty of Music, The University of Western Ontario, Canada
2. Music pedagogy, informal learning and Canadian teacher training: from how the teacher teaches to how the learner learns
Leslie Linton, PhD candidate, Music Education, Don Wright Faculty of Music, The University of Western Ontario, Canada
3. Informal Learning in a uni-cultural First Nations classroom: possibilities for research
Jennifer Hutchison. PhD candidate, Music Education, Don Wright Faculty of Music, The University of Western Ontario, Canada
*
Date: Thursday 2nd February
Time: 1.00–2.30 pm
Room: CR4 (Level 4, round the back of Lift Core A)
Further details from Lucy Green, l.green@ioe.ac.uk
All are welcome
Ruth Wright is Associate Professor and Chair of the Department of Music Education at the Don Wright Faculty of Music, the University of Western Ontario, Canada. Prior to this she taught and lectured in music in the UK for thirty years. She is passionate about the rights of all young people to a relevant and personally meaningful experience of music in education and has advocated for programmes that bridge the gap between experiences of music outside school and school music. Dr. Wright publishes regularly in books and refereed journals on the subject of music education and is a speaker at national and international conferences. Her edited book Sociology and Music Education was published by Ashgate Press in September 2010.
Call for Papers
/--Please see also the important note on accommodation at the end of this call for papers/--
Musicians habitually describe music as being shaped, especially when speaking of performance. This conference contributes to the AHRC-funded Research Centre for Musical Performance as Creative Practice and its project, based at King's College London, on 'Shaping Music in Performance' (www.cmpcp.ac.uk/smip.html), and is organised in collaboration with the Institute of Musical Research. The aim of the conference is to explore, from as many perspectives as possible, relationships between music and shape. Proposals for papers, sessions, lecture-recitals, research reports, soft-/hardware demonstrations, and posters will be welcomed from specialists in any discipline from the sciences, social sciences, humanities, engineering or performing arts that may be able to shed light on the creation, perception or reception of music (and especially musical performance) in relation to shape.
Following the conference, submissions will be invited to an edited, peer-reviewed book on music and shape.
Papers should last 20-30 minutes, research reports 10 minutes, and sessions 90 minutes. Lecture-recitals may last up to 45 minutes. The deadline for conference proposals is 19 December 2011. The conference programme will be published in February 2012.
Submissions should be made electronically in Word or PDF format to daniel.leech-wilkinson@kcl.ac.uk. Please provide your name, postal and email addresses, and any institutional affiliation on the first page.
Start your proposal on the second page and write no more than 300 words.
State your audio-visual or other equipment or space requirements after your proposal. All proposals should fully and clearly describe the topic of the presentation and should include the following information:
* Background
* Research questions
* Aims
* Summary of content
* Significance
NOTE ON ACCOMMODATION
The Music & Shape conference happens two weeks before the start of the Olympic Games. Accommodation in or near London will be hard to find and very expensive. 100 rooms have been reserved for the conference at Travelodge Euston (£109 per night) and King's Cross (£99). Please book as soon as possible via the Institute of Musical Research (music@sas.ac.uk), and in any case before 1 June 2012. No rooms can be booked after 1 June 2012.
A booking form for meals and registration will be published at the same time as the conference programme in February 2012.
The 36th Session of the General Conference of UNESCO agreed to:
1. Adopt and support the The Seoul Agenda: Goals for the Development of Arts Education
2. Designate the fourth week of May as International Week of Arts Education
3. Support a Third World Conference on Arts Education.
The full resolutions as recorded at the UNESCO General Council are outlined below (Thanks to Canadian and German Commissions for UNESCO)
The World Alliance for Arts Education (WAAE: International Drama Education Association, International Society for Education in Art, International Society for Music Education and World Dance Alliance) has been active in developing and advocating for these initiatives.
Thanks go to the Korean Arts and Culture Education Services (KACES) and the Korean delegation at the 36th UNESCO General Conference for their advocacy for arts education during the conference in Paris. A statement from KACES re the announcement may be found at http://www.artezine.kr/english/view.jsp?articleldx=1498
2012 will see the inaugural celebration of the International week of Arts Education
Item 5.13 – Implementation of the "Seoul Agenda: Goals for the Development of Arts Education", outcome document of the Second World Conference on Arts Education
The General Conference,
Recalling 35 C/Resolution 40 on the promotion of arts education,
Taking into consideration 185 EX/Decision 44,
Having examined document 36 C/55,
1. Welcomes the positive results of the First and Second World Conferences on Arts Education (held in March 2006 and May 2010) which highlighted the importance of high-quality arts education for all and of strengthening cooperation among various stakeholders (national authorities, local governments, teachers, artists, researchers associations and NGOs) and through the network of UNESCO Arts Education Observatories and Chairs to the development of best practices and the reinforcement of the position of arts education in schools and in societies;
2. Invites Member States to ensure the follow-up to the Second World Conference by employing the strategies proposed in the Seoul Agenda and by implementing in a concerted manner the action items set out therein for the renewal of education systems;
3. Requests the Director-General to provide support for the mobilization of extrabudgetary resources for the holding of the Third World Conference on Arts Education and to ensure appropriate intersectoral cooperation between the Culture and Education Sectors of UNESCO in promoting and integrating arts education, in particular in the context of the education for all (EFA) and education for sustainable development (ESD) plans;
4. Decides to proclaim the fourth week of May as the International Arts Education Week and to encourage all Member States, civil society, professional organizations and communities to organize relevant activities on that occasion at the national, regional and international levels.
The research team from the International Music Education Research
Centre (imerc), Institute of Education, University of London received
an Arts and Health Award 2011 for their evaluation of the UK
Government's National Singing Programme 'Sing Up' in England. Members
of the research team that attended the special award ceremony at the
RSPH on 21st September in London were Professor Graham Welch, Dr Jo
Saunders and Dr Evangelos Himonides.
Photos supplied courtesy of RSPH (www.rsph.org.uk), photo 1: Award
Winners, photo 2: The IOE team receives award from Baron Hunt of Kings
Heath.
For those wishing to develop their professional voice in theatre, it
is common to draw on practical training and experiences as their main
foci. Observational undertakings, apprenticeships, and personal
endeavours are also customary ways to further this development of
their persona as director or performer. There has been little in the
way of academic research or study of general principles to open the
door to formal discussion of the theatrical processes involved in
creating a production. Common approaches are personal (mainly
autobiographical or context-specific) assessments that recount
individual episodes and milestones within the careers of well-known
and respected individuals. Although such methods are informative and
often interesting, formal analytical tools to undertake production
analyses and intellectual comparisons are still needed.
This is the first study that attempts to apply a systematic process to
the mysteries of directorial communication within a theatrical
setting. Categories created using this methodology make comprehensive
breakdown and analysis possible of those elusive interpersonal
interactions, the communication flow, during the period of rehearsal
leading to a production. As such, the case studies make available some
of the inner individual experiences from each company's endeavour, the
artistic journey, successes and pitfalls, viewpoints and reflections
of those involved, the changing styles of communication, and thus,
many important lessons that would be otherwise completely unavailable
to a wider audience. Whilst centring specifically on opera as a
medium, the examination unpicks general processes of theatrical
rehearsal, profiling individuals at work in a systematic way that
begins to uncover and identify patterns of behaviour. The study, thus,
draws important lessons from observation of that process which can
then be applied to future experience, assisting the novice especially,
whose previous recourse was mainly limited to trial-and-error
approaches within their own personal production experience.
Communication in Theatre Directing and Performance is an important
addition to the general study of theatrical performance communication
and its analysis. The case studies and interviews are especially
helpful because the reader will not only be able to read directly the
views and experiences of professionals at work but also to unpick and
analyse those processes taking place over a period of rehearsal.
Its ability to bring into relief the practices of theatrical
professionals makes this study an invaluable option for university
drama departments, colleges of drama training, as well as for
individuals at a more advanced point in their professional existence
who are looking to evolve their understanding and artistic style.
Music Education Special Interest Group
Research Seminar Announcement
The private world of public master classes: instrumental sub-cultures and gendered perspectives on excellence
Dr. Marion Long
Date: 17th October 2011
Time: 12.30 – 1.30
Room: 784
Further details from Lucy Green, l.green@ioe.ac.uk
All are welcome
Abstract
Public master classes provide students with an opportunity to both perform in front of colleagues, teachers and the public and to receive feedback on their performance from a master musician, selected for their musical expertise in a particular musical repertoire. The master musician is perceived to possess an exceptional blend of musical knowledge derived from firstly a distinguished musical career as a high profile performer and secondly in most but not all instances, a rigorous training in the values and methods of a particular musical tradition.
Recent research by Hanken (2008) has identified that master classes are relatively complex forms of learning in which the traditional master-apprentice pedagogic model expands to incorporate an audience. The presence of the audience of colleagues, faculty teachers and the public creates a particularly pressurised learning environment which tests an individual student's ability to perform convincingly. This audience can be described as 'informed' because it typically brings to this arena a shared awareness of the conventions of the musical style, and a specialised knowledge of a particular musical instrument or voice. The master musician judges the performance and provides positive, constructive or negative feedback, reflecting an expectation that the student will strive to master and to transcend the structural formalities and stylistic conventions relevant to the music that they have performed.
A team of researchers from the Institute of Education and the Guildhall School of Music & Drama have investigated 373 conservatoire students' experiences and perceptions of various types of master class, collected in a questionnaire and analysed using quantitative and qualitative approaches. Students' performing experiences of public master classes were found to differ significantly according to their principal instrument of study. Further differences involving students' experiences as members of the audience reflected combined factors of principal instrument of study, gender and year at college. In particular these findings indicated that perspective taking on the concept of musical excellence was articulated through gender. A discussion of these findings will examine firstly, the extent to which students' performing and listening experiences and perceptions of public master classes were to some extent predetermined by intrinsically exclusive or inclusive attitudes towards music and secondly, the implications for the reproduction of musical sub-cultures and gendered perspectives on excellence in schools as music students take up positions as instrumental music teachers.
MARION LONG completed her PhD in Psychology of Education at the Institute of Education University of London, UK. Her PhD examined the effect of a music intervention on the temporal organisation of children's reading behaviour. She is involved in several research studies across a range of topics.
Journal of Music, Technology and Education
Special Issue
An examination of affordances of the application of 'open source' to music education.
Guest Editors: Ketil Thorgersen (Sweden) Lauri Väkevä (Finland) , Mikko Myllykoski (Finland) Steve Dillon (Australia), Alex Ruthmann (USA)
Call for papers
Brief description
This special issue of JMTE (http://www.intellectbooks.co.uk/journals/view-journal,id=152/) will examine the affordances of the application of 'open source' to music education. Each article will focus on one particular aspect and context.
The publication of this special issue follows on from an international symposium presentation at the Research in Music Education conference in Exeter in the UK in April 2011. The symposium revealed significant aspects of the need to apply development of philosophy and practice around the concept of open source in music classrooms.
Proposals
Music practitioners and researchers are invited to contribute research articles (6,000 words) or project reports (3,000-4,000 words) that look beyond open source a set of licenses and to consider the ideas and ideals that constitute what can be considered the open source movement and possible implications for music education research. What is it that makes masses of people spend their skills and time to produce software for free, which anyone can make use of and continue to develop freely and what constitutes such a generative society? The aim is for articles to elaborate on this from philosophical, pedagogical and practical technical points of view in an open atmosphere where the hope is that knowledge will be generated collectively through the session in an open sourced mode.
Articles could address, but are not limited to the following questions that arise for music education:
1) How should music educators relate to different arguments for and against creative recycling in the digital music culture?
2) Is it possible to teach music taking seriously the argument for Music 3.0, and if it is, how can we support creativity full-scale in music education recognizing this possibility?
3) How can we offer versatile musical content and tasks with educational open source applications?
4) How to maintain people's individual rights to their own musical content in open shareable software environments?
5) Might "Music" be the original "open source" project? What might we gain or lose by looking toward technological models for music education?
6) What might be afforded by providing students with the tools to design and build theri own musical environments?
7) What are the relational pedagogies needed for this approach?
8) How can we apply the philosophy of 'open source' technology in music education?
A Prezi outline of the RIME symposium can be found at: http://prezi.com/cm0vnmiayfq-/open-source-and-music-education-rime-2011/
Proposals for research articles and project reports should be e-mailed to Ketil Thorgersen (Sweden) Lauri Väkevä (Finland) , Mikko Myllykoski (Finland) Steve Dillon (Australia), Alex Ruthmann (USA)
no later than 31 October 2011, and include a 250- 500 word abstract, the title of the proposed article, a brief biography (200 words max), and the contact details of the author. Authors will be notified of the outcome of their proposals by the end of December 2011. If successful, the full articles would need to be submitted by the end of January 2012.
For more information, contact:
Dr Ketil Thorgersen ketil.thorgersen@utep.su.se
Dr Steve Dillon, Queensland University of Technology: sc.dillon@qut.edu.au
Dr Lauri Väkevä lauri.vakeva@siba.fi
Dr Alex Ruthmann alex.ruthmann@gmail.com
Dr Mikko Myllykoski mikko.myllykoski@campus.jyu.fi