Melbourne Conservatorium of Music - Research Publications
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ItemFinding a discourse voice in academic research, and all that jazz(ASME, 2017-07-15)
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ItemSelf-regulation and the high school jazz and improvisation learner.(ASME, 2017)Common to all musicians, and not just improvising ones is the development and adaptation of sensory-motor, audiative, imaginative and self-regulatory strategies. They develop self-regulatory behaviors of learning that involve the evolution of specific goals, strategies, self-evaluation, adjustment, reflection and monitoring of progress. Yet, whilst learning takes place in our minds, and as fascinating as neuroscience can shed light on music education, learning and teaching is negotiated within social and communicative environments. Recent cognition theories suggest that learning involves the attainment of automation, and the meshing of embodied skills and knowledge acquired through situated and experiential learning, acknowledging that from a social-cognitive perspective self-regulatory processes - learning to learn, and learning to be creative can be viewed as a set of relations that are actualized, mediated and activated through transactions among individuals, environments, and socio-cultural relations. Research on self-regulation that enhances creative processes has extended beyond the synthesizing of convergent and divergent thinking, and of teaching creatively and for creativity. Recent discourse on creativity now aligns with that of self-regulation in arguing that these principles are layered within a more complex distributed nature of learning and expression of knowledge, that identifies self-regulation, co-regulation and socially shared regulation of learning. Creativity scholars such as Burnard, Glaveneau and Sarath similarly articulate a ‘WE’ paradigm of emergent processes that evoke multiple creativities that mark a conspicuous and striking aspect of thinking, learning and self-regulation that enhances creativity in music-making.
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ItemNo Preview AvailablePedagogies of difference: a framework for pedagogical adaptation and creative climates(University of Southern Florida, 2021)Instrumental music tuition in schools is a powerful way teachers can guide students to immerse in detailed and specific aspects of learning. Regular lessons with a music teacher are a ubiquitous school activity where students engage with expert learning, practice, reflection and discourse of learning processes. This qualitative study examines teacher experiences in instrumental music education in Victoria, Australia. Investigating teacher perspectives to pedagogy that connect, engage and nurture instrumental music learning and exploration, this study of instrumental music teachers across four diverse schools in Victoria phenomenologically analysed teacher reflections on learning events with students. Analysis of interactions, pedagogies and adaptive behaviours between teacher and student revealed a dynamic social context spanning the instructional relationship between student action and teacher direction, the subject matter and substance of what is taught, and the connection between the student and the teacher as master musician. Looking beyond music teachers as adaptors that utilise generic descriptors of critical thinking, communication, creativity, and collaboration (4C’s of creativity) this study identifies and redefines the qualities of recognition, empathy, insightfulness and responsiveness outlining a (REIR) framework to which all teachers can shape pedagogical approaches that engage and educate learners in the future. Findings outline relationship-building and connective teacher-student relationships fostering multiple creativities in music learning. The study posits a recalibration of teacher practice on building positive collaborative learning climates, a relational adaptivity that emphasises effective interpersonal strategies that enhance student learning and potentially enculturate richer teacher understanding and more sophisticated musicianship in students.
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ItemIntercultural and interdisciplinary approaches to creative music education: An Australasian perspective.(ISME, 2018)Music education throughout the world is adopting a ‘creative turn’ in both the ways information and skill is transferred, as well as the underlying organisational ethos that complements this education. Music education is arguably resisting universal and homogenous approaches to music education, embracing increasingly differentiated perspectives, practices and local beliefs that assert against globalising trends. Organisations are confluent in their approaches to incorporating localised intercultural and interdisciplinary approaches evident in music making. This study investigates a Creative Music Intensive that brought Australian music students together with Indigenous Australian and Korean p’ansori musicians in a two-week residential exploratory and experiential music-making event. This intercultural exploration facilitated action, interplay and development of ‘possibility thinking’ relating to deep conceptualisations of inter-culturally shared music making and the wider interdisciplinary connections. Such practices offer music and music educator students institutions and communities critical and creative practices that resist centrified ideas and affirm ‘locality’ and community as the epicentre from which new knowledge, creativities, industry and bipartisanship can be found and negotiated. Intercultural collaborative music-making can promote empathy, knowledge and deep collective unity and solidarity at a critical time in music education.
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ItemNo Preview AvailableEmpowering Caregivers of People Living with Dementia to Use Music Therapeutically at Home: Design Opportunities(ACM, 2020-12-02)Human-computer interaction researchers have explored how to design technologies to support people with dementia (PwD) and their caregivers, but limited attention has been given to how to facilitate music therapy in dementia care. The use of music to help manage the symptoms of dementia is often guided by a music therapist who adapts the intervention to respond to the changing needs of the person living with dementia. However, as the incidence of dementia increases worldwide, individualised therapy programs are less feasible, making it valuable to consider technology-based approaches. In this paper, we analyze data from case studies of home-based music therapy training interventions with two families. The findings show that embodied interactions supported the therapist in responding to the needs of the PwD and built an empathic environment that empowered the caregivers' learning. We discuss opportunities and challenges for designing technologies that support family caregivers' therapy-informed music use in dementia care.
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ItemDeveloping Digital Literacy Skills Through Online Music Orientations(ISME, 2021-03-23)The adoption of a faculty or department orientations for students can be a supportive tool for those students new to university learning, as well as students returning to university studies. Focused orientations can decrease attrition as well as help students better navigate the institution and its offerings for enrolled students. Further, orientations that help student develop technological skills have been found to support stronger overall student learning outcomes as they can focus on course work rather than learning technologies required during the semester.