Melbourne Conservatorium of Music - Research Publications

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    Working with Families: Emerging Characteristics
    Jacobsen, SL ; THOMPSON, G ; Jacobsen, SL ; Thompson, G (Jessica Kingsley Publishers, 2016)
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    Preparing for Change: Getting Ready for Offering Online Music Courses
    Johnson, C (IGI Global, 2018-05-11)
    Transforming music education for twenty-first century learning involves more than offering online courses within School of Music programs. Teaching and learning music online requires strategic support from both institutions and faculty members. As such, this chapter identifies ways post-secondary music education administrators can address strategic elements of sustainability (i.e., longevity) and innovation. Central aspects of collaboration through network theory, the Community of Inquiry framework, and systems thinking can better position higher education music programs to embrace the complexities of innovative technologies for sustainability. By incorporating strategic determination and the strengths of its past, music education can welcome its innovative compliments such as new pedagogical frameworks and online learning technologies to effectively prepare our students for their futures.
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    Enhancing Instructor Capacity Through the Redesign of Online Practicum Course Environments Using Universal Design for Learning
    Lock, J ; Johnson, C ; Altowairiki, N ; Burns, A ; Hill, L ; Ostrowski, C ; Keengwe, J (IGI Global, 2019)
    A current trend in practicum or field experience programs is online and blended learning approaches being implemented alongside traditional classroom experiences. Principles of Universal Design for Learning (UDL) should be integrated in the design of these online environments in order to better support learning needs of all students. Instructors must also have confidence and competence in designing and facilitating learning within technology-enabled environments. This chapter reports on research conducted using design-based research to support instructor capacity development within field experience in a Bachelor of Education program. Three strategies are identified and discussed to enhance instructor's capacity: scaffolded support, modeling UDL practice in the online environment, and coaching to foster developing capacity using UDL. The chapter concludes by reporting on a new study that emerged as a result of this work, along with recommendations for practice.
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    Designing an Online Graduate Orientation Program: Informed by UDL and Studied by Design-Based Research
    Lock, J ; Johnson, C ; Hanson, J ; Liu, Y ; Adlington, A ; Gronseth, SL ; Dalton, EM (Routledge, 2019)
    As online learning programs experience growth in higher education, institutions must ask how students are being oriented to online learning. Orientation or preparation programs can provide students with opportunities to become fmiliar with the technologies being used in online classrooms. In this chapter, the authors report on an online graduate orientation program grounded in the principles of Universal Design for Learning (UDL). Using a design-based research (DBR) methodology, they developed an online orientation program and studied the iterations of its implementation. Drawing on this research, they discuss the various strategies and activities that align to each of the UDL principles. The chapter advocates for a greater understanding of UDL and its application in online learning environments for both students and instructors.
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    La estética tardía de Les Ballets Russes y la transformación de El amor brujo en la versión de León Woizikovsky y Natalia Goncharova (1935)
    Christoforidis, M ; Torres Clemente, E ; Giménez Rodríguez, FJ ; Aguilar Fernández, C ; González Mesa, D (Centro de Documentación de Música y Danza-INAEM; Fundación Archivo Manuel de Falla, 2017)
    In 1935 Les Ballets de Léon Woizikovsky staged El amor brujo with costumes and sets by Natalia Goncharova. The production was the first major choreography by the famous dancer Woizikovsky, whose reworking of the celebrated ballet by Manuel de Falla was one of the principal attractions of the new company for several years in the second half of the 1930s. During this time they undertook long tours around Spain, Europe and Oceania. Woizikovsky and Goncharova, who had been key members of Sergei Diaghilev’s Ballets Russes, also had many ties with the music of Falla and Spain. However, some of the ideas they explored in El amor brujo had origins in their collaboration with Bronislava Nijinska in the staging of Igor Stravinsky’s Les Noces (1924). These concepts included the simplification of the original plot, stylisation of the choreography and the employment of a limited range of colours in the sets and costumes.
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    Sharing Our Narratives on Developing Our Practice in Online Music Pedagogy
    Johnson, C ; Lamothe, VC ; Motoyama Narita, F ; Clark, I ; Mulholland, J ; Meyers, N ; Johnson, C ; Lamothe, VC (IGI Global, 2018)
    This chapter begins with an introduction focused on the importance of instructor's reflection on his/her teaching practices and pedagogy through the theoretical lens of Schön's work on reflection-in-action and reflection-on-action. Five case narratives are presented that highlight instructors at different entry points into their experiences of teaching music online. The narratives outline significant learning processes that took place as instructors continued on their journey in teaching music online. The implications raised from the narratives identify the need for effective online learning systems for music, institutional support for instructors teaching music online, and a need for online music instructors to have resilience and adaptability when teaching music online. Additionally, the various contexts of teaching music online signals a need for future research in the areas of: active learning for online music courses, appropriate technology tools available with a LMS, and collaborative online music tasks for effective student learning outcomes.
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    Connecting Creativities in the Arts: Exploring Diverse Creativities in Arts Practice and Arts-Based Research. Introduction
    de Bruin, L ; Burnard, P ; Davis, S ; de Bruin, L ; Burnard, P ; Davis, S (Brill, 2018-04-19)
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    Beyond Ropar Bar: Transcultural and transformative collaborations of the Australian Art Orchestra and the Young Wagilak Group
    de Bruin, L ; Brooks, J ; Watson, T ; Beachum, F (Information Age Publications, 2017-03-31)
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    Critical Autoethnography and Musical Improvisation: Reflections, Refractions and Twenty-First Century Dimensions
    de Bruin, L ; Pruyn, M ; Harris, A (Palgrave Macmillan, 2018)
    This chapter considers how reflective practice demonstrates a cyclical potential; of self-reflexivity and reviewing personal, critical processes, and maintaining ongoing capacities for exploration and discovery. The chapter views the self-critical and self-affirming processes of an improvising musician, and the meaning-making derived from autoethnographic objects, collaborations and collectives, within communities of practice and the wider creative music politic. The chapter utilizes autoethnography to critically self-reflect the author’s learning journey as educator-practitioner-researcher and the ‘double-consciousness’ inherent as both insider and outsider to these paradigms. Issues of meaning in artefact and creative practices are explored and addressed, and the development and enhancement of self from performing artist to multi-dimensional performative researcher, and the self-critical awareness ushered by this journey.
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