Full Description
In higher music education, learning in social settings (orchestras, choirs, bands, chamber music and so on) is prevalent, yet understanding of such learning rests heavily on the transmission of knowledge and skill from master to apprentice. This narrow view of learning trajectories pervades in both one-to-one and one-to-many contexts. This is surprising given the growing body of knowledge about the power of collaborative learning in general, underpinned by theoretical developments in educational psychology: the social dimensions of learning, situational learning and concepts of communities of learners. Collaborative Learning in Higher Music Education seeks to respond to the challenge of becoming more conscious of the creative and multiple dimensions of social interaction in learning music, in contexts ranging from interdisciplinary projects to one-to-one tuition, and not least in the contemporary context of rapid change in the cultural industries and higher education as a whole. It brings together theoretical papers and case studies of practice. Themes covered include collaborative creativity, communities of practice, peer-learning, co-teaching as co-learning, assessment and curriculum structures. Chapters illuminate reasons for enabling collaborative learning, and provide exemplars of innovative practice and designs for collaborative learning environments in higher music education. A central purpose of the book is to scaffold change, to help in meeting the rapid changes in society and to find constructive stepping stones or signposts for teachers and students.
Contents
Contents: Prelude: the case for collaborative learning in higher music education, Helena Gaunt and Heidi Westerlund; Part I Theoretical Perspectives and Research Studies: Mapping the research ground: expertise, collective creativity and shared knowledge practices, Kai Hakkarainen; Learning from artistic and pedagogical differences between musicians' and actors' traditions through collaborative processes, Biranda Ford and John Sloboda; The art of stepping outside comfort zones: intercultural collaborative learning in the international GLOMUS camp, Eva Sæther; Promoting professional and paradigm reflection amongst conservatoire teachers in an international community, Helena Gaunt; Exploring dialogues in online collaborative contexts with music teachers and pre-service students in Australia, Julie Ballantyne and Tammie Olm-Madden; Perspectives on the dynamics of power within collaborative learning in higher music education, Catharina Christophersen; Designing the rhythm for academic community life: learning partnerships and collaboration in music education doctoral studies, Heidi Westerlund and Sidsel Karlsen; Expanding the master-apprentice model: tool for orchestrating collaboration as a path to self-directed learning for singing students, Lotte Latukefu and IrinaVerenikina; Using formal self- and peer-assessment as a proactive tool in building a collaborative learning environment: theory into practice in a popular music programme, Don Lebler; Learning from one another's musicianship: exploring the potential for collaborative development of aural skills with pianists, Lotta Ilomäki; Exploring cognitive strategies and collaboration in master class settings, Marion Long; Intersubjectivity in collaborative learning in one-to-one contexts, Paula Collens and Andrea Creech. Part II Practitioners' Reports and Narratives: 'I listen, I hear, I understand': students' collaborative research for criteria to empower constructive feedback in classical piano perform
