Melbourne Conservatorium of Music - Research Publications
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ItemNo Preview AvailableImprovisation, Music Education, and the Embodied Mind( 2018-07-24)IICSI colloquium - Sounding Promise in the Present Tense, University of British Columbia, Canada - July 24th, 2018 Presentation given by Dylan van der Schyff at the 2018 IICSI colloquium "Sounding Promise in the Present Tense: Improvising Through Turbulent Times." van der Schyff discusses improvisation in relation to music education and theories of cognition.
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ItemPhenomenology, Technology and Arts Education: Exploring the Pedagogical Possibilities of Two Multimedia Arts Inquiry Projects(Inference, 2016)The relevance of phenomenology for arts education is explored through two multimedia arts inquiry projects. I begin by offering a brief outline of what arts inquiry and phenomenology entail. Following this, I consider a phenomenological study relevant to creative multimedia studies, and develop the relationship between phenomenology, critical pedagogy, and creative praxis in the arts. Drawing on these ideas, I then discuss the processes involved in creating the multimedia projects and consider possibilities for similar projects in educational contexts. Most importantly, I attempt to show how such projects might open arts educators and students to more reflective, imaginative and participatory ways of being-in-the-world, while simultaneously developing deeper historical, cultural, technical, and aesthetic understandings of the art forms they are engaged with.
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ItemFrom Necker Cubes to Polyrhythms: Fostering a Phenomenological Attitude in Music Education(UNIV ALBERTA LIBRARIES, 2016-01-01)Phenomenology is explored as a way of helping students and educators open up to music as a creative and transformative experience. I begin by introducing a simple exercise in experimental phenomenology involving multi-stable visual phenomena that can be explored without the use of complex terminology. Here, I discuss how the “phenomenological attitude” may foster a deeper appreciation of the structure of consciousness, as well as the central role the body plays in how we experience and form understandings of the worlds we inhabit. I then explore how the phenomenological attitude may serve as a starting point for students and teachers as they begin to reflect on their involvement with music as co-investigators. Here I draw on my teaching practice as a percussion and drum kit instructor, with a special focus on multi-stable musical phenomena (e.g., African polyrhythm). To conclude, I briefly consider how the phenomenological approach might be developed beyond the practice room to examine music’s relationship to the experience of culture, imagination and “self.”
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ItemEmotion, Embodied Mind and the Therapeutic Aspects of Musical Experience in Everyday Life(Greek Association of Primary Music Education Teachers, 2013)The capacity for music to function as a force for bio-cognitive organisation is considered in clinical and everyday contexts. Given the deeply embodied nature of such therapeutic responses to music, it isargued that cognitivist approaches may be insufficient to fully explain music’s affective power. Following this, an embodied approach isconsidered, where the emotional-affective responseto music is discussed in terms of primary bodily systems and the innate cross-modal perceptivecapacities of the embodied human mind. It is suggested that such an approach may extend thelargely cognitivist view taken by much of contemporary music psychology and philosophy of music by pointing the way towards a conception of musical meaning that begins with our most primordial interactions with the world.
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ItemMusical Empathy, from Simulation to 4E Interaction(Brazilian Association of Cognition and Musical Arts, 2019-04-01)The term “empathy” refers to the ability to understand or feel the experience of another person. In folk psychology, this is often thought to involve a kind of mind reading, whereby we access the thoughts and intentions of others. For example, empathy might involve inferring the logical thought processes of an individual, allowing us to see how and why they make the choices they do. This includes some awareness of that person’s history, of their beliefs and background. As such, empathy can entail complex imaginative and deductive processes where, in a sense, we place ourselves in their position or “enter into” their mental processes. However, empathy may also involve a more basic awareness of bodily and emotional-affective states. This appears to be rooted in a fundamental capacity to associate the bodily movements, gestures, expressions, and vocal inflections we perceive in others with states we experience ourselves. This chapter considers such phenomena in the context of human musicality. We first offer a brief overview of relevant research and discuss some problematic theoretical issues. Following this, we introduce two contrasting perspectives that appear to offer a way forward — Simulation Theory (ST) and Interaction Theory (IT), respectively. Building on the resulting insights, we then outline a provisional framework for musical empathy based in a relational “4E” approach to cognition — one that sees mental life as primarily embodied, embedded, enacted, and extended. Here we introduce two core concepts that are helpful for understanding musical empathy from this more embodied and ecological perspective, “musical scaffolding” and “empathic space.”
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ItemNo Preview AvailableLuciferase(SoundOut Recordings, 2020)
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ItemEditorial: Towards a Meaningful Instrumental Music Education. Methods, Perspectives, and Challenges(Frontiers Media, 2020-12-01)Learning music is a complex, fascinating process that spans an impressive variety of meanings and experiences. The contributions that feature in this Research Topic bring together insights from a range of complementary perspectives to examine in detail how these layers of significance are part of, and shape, instrumental music education. To better capture the richness of such work, the present collection of articles is conceived around the following five themes: (i) body and action, (ii) technology, (iii) lived experience and meaning-making, (iv) pedagogical implications, and (v) beyond themusical instrument. It should be noted thatmany overlaps can be observed between the five topics, as insights developed in one specific area, as it often occurs in both the sciences and the humanities, may find a home (and be further developed) in other scholarly areas. For example, the analysis of lived experience has important implications for technology-enhanced learning and the modes of engagements one can develop with its tools and concepts; similarly, the study of action, movements, and gestures may stimulate novel pedagogical insights to transform existing learning paradigms and cultivate corporeal practices situated beyond music-only territories. Accordingly, while in what follows we examine each theme separately, we also highlight continuities and similarities emerging across manuscripts and topics.
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ItemFocal Practices and the Ontologically Educated Citizen(Routledege, 2020-07-01)This chapter examines the relationship between phenomenology, critical pedagogy, and arts education, showing how they support one another in pedagogical contexts. Examples are offered that illustrate how creative praxis in the arts can provide experiences and critical insights that may help teachers and students look beyond prescriptive attitudes towards life and education; and therefore, explore their potential as creative, world-making beings. Such possibilities are then considered in connection with the critique of modern and postmodern technology provided by phenomenological thinkers such as Heidegger and Borgmann. To conclude, it is argued that a revised understanding of arts education in light of the idea of ‘focal practices’ can help teachers and students recognize and better understand the kinds of activities and relationships that imbue life with meaning, and that this could help them lead fuller lives as ‘ontologically educated’ citizens.
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ItemNo Preview AvailableTowards a Meaningful Instrumental Music Education. Methods, Perspectives, and Challenges(Frontiers Media SA, 2020)
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