Melbourne Conservatorium of Music - Research Publications

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Type: Conference Paper × Start date: 2010 × End date: 2019 × Author: de Bruin, Leon ×

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    International creativities research in economic, education and trade policy.
    Harris, A ; de Bruin, L ; Chemi, T ; Burnard, P (Southern Oregon University, 2018)
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    Self-regulation and the high school jazz and improvisation learner.
    de Bruin, L (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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    Intercultural and interdisciplinary approaches to creative music education: An Australasian perspective.
    de Bruin, L (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.