Melbourne Conservatorium of Music - Research Publications
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ItemTraining and retaining traditions: The Grainger Wind Symphony(Routledge, 2022-09-22)
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ItemIntroduction: Redefining the field(Taylor & Francis, 2022)
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ItemNo Preview AvailableCreative Pedagogies with Technology: Future Proofing Teaching Training in Music(Springer International Publishing, 2022)In this chapter, the authors will consider the benefits and challenges of enacting creative pedagogical approaches in the tertiary context and examine emerging educational practices about twenty-first century learning and technology. Creativity continues to be a key construct for twenty-first century music education practice and education, incorporating technology that delivers deeper and more profound learning experiences- that paradoxically isolate individual learning yet at the same time provoke reflection, growth, and sustainability. This chapter explores the delivery of a tertiary degree in Music Teaching, specifically addressing the following areas: • Curriculum design, delivery, and assessment, • Entrepreneurial approaches to learning through student centred activity, • Online learning, student access, self-regulation, and self-assessment, • Learning environments (including online and technology-based practice) that mirror global change, capacities, and expectations. Through a combination of annotated examples of teaching practice, selected research, and related theoretical reference, this chapter will propose a range of creative, innovative learning solutions. Importantly, this chapter draws on research undertaken with graduate students after their year of learning during the COVID pandemic and subsequently provides insights into these four areas and their influence on the students’ learning. This is supported by a discussion of a range of teaching approaches and strategies that can be used to foster creativities and shifts in teaching practice.
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ItemDirector perspectives to equity, access, and inclusion in the school jazz ensemble(Frontiers Media SA, 2022-12-20)Arts and culture are increasingly acknowledged as pillars of society in which all of humanity including people who identify as’ LGBTQIA+ can contribute in 21st century society. United Nations and individual country initiatives continue to promote the notion of inclusive, egalitarian values that promote equal access and opportunity to chosen careers and passions. Jazz as an artform has evolved as a form of cultural expression, entertainment, and political metaphor, subject to societal and populist pressures that have created both a canon and popularized history. Jazz education has moved from largely informal to almost wholly formal and institutionally designed methods of learning and teaching. The jazz ensemble or stage band remains an enduring secondary education experience for most students learning jazz today. This qualitative study of music directors investigates their approaches, perspectives and concerns regarding attitudes and practices in the teaching profession, the promoting of inclusive practices, access, and equity, amidst a pervasive masculinized performance and social structure that marginalizes non-male participation. The study provides implications for how jazz education may continue to evolve in both attitude and enlightened access in the education of jazz learners.
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ItemGrainger Wind Symphony(Routledge, 2022-09-22)
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ItemIntroduction(Routledge, 2022-09-22)
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ItemPostlude(Routledge, 2022-09-22)
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ItemBeing and becoming instrumental musicians and teachers: A post-qualitative exploration(Frontiers Media SA, 2022-10-13)In trying to understand the complex interplay between effective learning and personal experience in instrumental music education we look to our own histories of becoming instrumental performers trained in conservatoires. We seek a collective fusion of horizons of possibility to explore the relationships of musicians, both learners and teachers, with each other and their environments. We adopt the post-qualitative turn, as it offers space and place for simmering curiosities, introspections, evaluations, and yearnings. As pondering individuals, we question how we were pulled and prodded through the acquisition of instrumental expertise. We are a trumpeter and a clarinetist; we are performers. We are also music educators who both re-enact and resist what was given to us as gospel. We hope to find within our thick and layered experiences, understandings of the better teacher we hope to become. We look beyond our “training” to our becoming both musicians and pedagogues, a work that remains in progress. We offer this pathway to our students—how can we/they become the better music educator?
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ItemCultivating creativity through developing improvisation skills(Yamaha, 2022-02-28)The ability to improvise is one of the most creative, enriching and fun things we can do as musicians. Whether we are beginning, developing or accomplished players, being able to create, think critically and express ourselves through spontaneous composition is one of the most valued (and coolest) musical skills we can have.
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ItemAgua! The flourishing of Latin Music in Melbourne, Australia(Routledge, 2022-07-31)The Latin American migration experienced in the late 1970s involved numerous and diverse nationalities that found new homes in Australia. Yet, they were largely perceived and collectivised locally as ‘Latin Americans’; a homogeneous social group because of their shared language and regional proximity. Their arrival and settlement met with an already socially and musically typecast identity fashioned via early European oriented ‘continental bands’. This socio-cultural demarcation by the Anglo-European mainstream in Australia encouraged this new wave of Latin American migrants to ‘band’ together under the shared characteristics of language, culture and impromptu music-making. Following the trajectory of the first Latin band in Melbourne, Australia, this qualitative study explores the musical and social meaning-making of five foundational members of the Melbourne Latin music scene. Today’s thriving scene reflects a dynamic ecology in which a sense of community amongst musicians is central, in a city that harbours a vibrant live music scene that not only celebrates South American cultural diversity but also a diverse multicultural participation by musicians, dance studios and wider audiences. However, new immigrants and younger formally educated musicians have begun to develop unique creative voices unburdened by the politics of exile or economic hardship that defined the old-guards’ raison d'être. The perpetually disrupted and dynamic nature of the live music industry means performance opportunities for these foundational immigrants is being eroded. This study reveals interconnection between various bands and musicians that represent a diverse and complex multi-generational community that negotiate heritage and modernity; musical connectivity and Latino/a solidarity; the socio-political, cultural and aesthetic needs of the older generation; and, the changing cultural expectations of 21st century audiences and the diversification this necessitates. It offers implications to music education regarding the changing nature of Latin music, its diasporic influence and the increasing sophistication that reside in populations towards Latin music-making.