Melbourne Graduate School of Education - Research Publications

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    The Artground: Where We Let Art Do, What Art Does
    Jeanneret, N ; Brown, R ; Andersen, J ; Lum, C-H ; Wong, J (Springer Singapore, 2021)
    This chapter gathers critical perspectives about the written chapters in this book (Chapters 1–10) about The Artground (TAG) from three arts education researchers (Neryl Jeanneret, Robert Brown and Jennifer Anderson) at the University of Melbourne. The researchers, who were deeply involved in research and documentation work at ArtPlay in Melbourne, Australia, discuss the interconnected aesthetic, social, cultural, creative and educational dimensions of TAG in terms of (a) philosophy, (b) place, and (c) practice.
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    SongMakers: An industry-led approach to arts partnerships in education
    Hunter, MA ; Broad, T ; Jeanneret, N (Taylor & Francis, 2018)
    Reported benefits of arts partnerships with schools range from improvements in students’ motivation and engagement in learning to teachers’ increased confidence in teaching the arts, and strengthened school and community relationships. Yet, in the scholarship on arts partnerships to date, limited critical attention has been given to the impact of programs primarily driven by government supported industry-based imperatives. There may be legitimate concerns that, in primarily servicing economic or employment needs, industry–school partnerships overlook social and interpersonal aspects of learning in favor of goal-orientated skills training to meet “the market.” This article informs arts education policy and industry directions by acknowledging this concern and reporting on the outcomes of an industry–schools partnership where industry “training” appears to be leveraging a number of more holistic student learning outcomes. Jointly funded by industry and government, SongMakers is an Australian artist in residence program that aims to improve the export potential of Australia’s contemporary music industry and contribute to the implementation of a contemporary music curriculum. It involves professional songwriters and producers with international recording experience working as mentors to students who create and produce new music in intensive two-day workshops. This article outlines how the program is demonstrating emergent positive impact not only on students’ music knowledge and skill development, and understanding of the contemporary music industry, but on engagement, confidence in learning, and self-efficacy. It does not argue that all industry programs can or will achieve such impacts, but that diverse kinds of arts partnerships in schools can contribute to a viable ecology of quality educational practice in the arts.
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    Musomagi; Artist-led personal development programmes for youth as viewed through a community music therapy lens
    BAKER, F ; Jeanneret, N ; Kelaher, M (Intellect, 2017)
    Large (80+ participants) artist-led programmes with young people frequently take place in school settings, and the artist has limited background knowledge of those attending. This study examined the components of an artist-led programme to identify the nuanced behaviours of artists and volunteer helpers that support musical engagement, personal and social development, and promote social capital. From an analysis of videos and interviews, we examine the activities and outcomes of artist-led programmes as viewed through the lens of Community Music Therapy (CoMT). We found that the programmes were ecological, ethics-driven and participatory, and espoused activism, which are core features of CoMT thinking. We found that within this model, there was importance placed on the youth taking the music outside formal spaces and sharing it with the community in public places such as local cafes, residential care facilities and police stations. The role of the artist-facilitator goes beyond preparing the youth for this experience and extends to preparing the local community – an ecological approach.
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    Encounters with engaging pedagogy: Arts education for the pre-service primary generalist
    JEANNERET, N ; BROWN, R ; BIRD, J ; SINCLAIR, C ; IMMS, W ; WATKINS, M ; DONELAN, K (Australian Council for the Arts, 2006)
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    Musical Futures in Victoria
    Jeanneret, NJ ( 2010)
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    Artistic partnerships in the music classroom: What is sustainable?
    JEANNERET, N ; SWAINSTON, A (International Society for Music Education, 2008)
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    Roles, contexts and professional standards for music teachers in Australia
    Watson, A ; Forrest, D ; JEANNERET, N (International Society for Music Education, 2006)
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    Australian diversity: Challenging contexts and communities for music education
    MCPHERSON, J ; JEANNERET, N ; FORREST, D (University of Washington Press, 2005)
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    Living the arts: The City of Melbourne and ArtPlay
    JEANNERET, N ; BROWN, R (Australian Association for Research in Music Education, 2007)
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    Developing a framework for the assessment of musical learning: Resolving the dilemma of the "parts" and the "whole"
    Cantwell, RH ; Jeanneret, N (SAGE Publications, 2004-12-01)
    Recent debate within the domain of music education has focussed on issues of discriminating between higher and lower quality learning outcomes. Much of this debate has centred on the language of music education, particularly in giving both substantive and psychometric meaning to terms as diverse as `the craft of music', `musical skills', `originality', `musically convincing', and `convincing development of ideas'. Moreover, in the search for standardisation in music assessment, much of what is conventionally described in assessment criteria reduces musical assessment to quantifiable competencies often not indicative of the higher-order musical thinking underlying the production of these competencies. That is, assessment often fails to resolve the dilemma of the `parts' and the `whole'. In this paper we propose an assessment framework based upon a synthesis of current text processing theory with Biggs and Collis' (1982) SOLO Taxonomy. We propose that musical assessment should primarily be sensitive to the quality and structure of music thinking. We argue that musical learning, like other domains of learning, can be analysed for evidence of structural quality and coherence, and that such evaluations may provide viable diagnostic as well as summative information about musical outcomes.