The impact of research results on art education

2023

European Journal of Behavioral Sciences, 2020

In the late 20th and 21st centuries, implementation of artistic research into the educational system has become increasingly intensive, both in the field of art as well as in the fields where arts collaborate with sciences. The subject of the paper is artistic research in the musical arts; how valuable is a piece of music created as a result of research from an artistic and scientific standpoint? The purpose of our study is to identify common and distinctive features of two different types of creative processes. To determine this, we use empirical and comparative research methods. To solve a scientific problem, we set a task - to compare the process of creating a piece with the process of artistic research, which results into a musical work. As artists describe their own creative process best of all, the paper is based on creative experience of Eka Chabashvili – the author of the current paper - as a composer. Two of her works are selected to describe the course and sequence of even...

Revista Eletrônica de Educação, 2016

These theses about postmodernity and their expressions on social reforms implemented since 1990, have been used and incorporated by the musical education, in the teaching and formation of the docent. The objective in this text is to reflect on this matter seeing it through the practical-reflective teacher and a pedagogy focused on the docent's competences, in learning how to learn and the overvaluation of knowledges of the everyday experience. A search on the musical education literature, above all in articles published in Journal and Anais of ABEM (Brazilian Association for Music Education) of of the last ten years, suggest a large diffusion, in the music education field, of postmodern/ post-structuralist suppositions about social and cultural life. This dissemination happens parallely with a bigger embodiment and its conceptions of formation and knowledge. The Marxian reference states that these theses may produce a retreat of the theory, depoliticisation of the debate and impoverishment of the act of knowing. Resumo As teses sobre a pós-modernidade, bem como a sua expressão nas reformas educacionais implementadas a partir da década de 1990, têm sido amplamente incorporadas pelo cam-po da educação musical, no ensino e na formação docente. Nosso objetivo neste texto é problematizar essa questão analisando os temas do professor prático-reflexivo e de uma pedagogia centrada em competências docentes, no aprender a aprender e na sobrevalori-zação dos saberes da experiência cotidiana. O levantamento na literatura da área baseado, sobretudo em artigos publicados na Revista e nos Anais da ABEM (Associação Brasileira de Educação Musical) nos últimos dez anos, sugere a larga difusão, no campo da educação musical, dos pressupostos pós-modernos/pós-estruturalistas acerca da vida social e cultural. Tal difusão se daria em paralelo à vasta incorporação das suas correlatas concepções de formação e conhecimento. A partir do referencial marxiano, afirma-se que essas teses podem produzir na educação um recuo da teoria, a despolitização do debate e o empobrec-imento do ato de conhecer. Palavras-chave: Currículo. Pós-modernidade. Formação docente. Ensino de música.

Music Education Research, vol. 18, no. 4, 2016, pp. 376-86., 2016

This article presents a research project that began three decades ago in the Faculty of Teacher Training on the Cáceres Campus of the University of Extremadura (Spain) and that continues opening new prospects through new interconnected approaches. Many researchers from different universities throughout Spain and Latin America have joined this process in the Group for Musical Heritage and Education (MUSAEXI). It began with the clear premise that music and cultural history have been traditionally centred around the study of the great composers, while other faraway cultures are considered exotic. In order to develop meaningful learning in which musical heritage is not exclusively that of the 'grand masters', it is necessary to understand what music has meant in the life of a given community, starting from our closest surroundings. This meaning is defined in three interconnected and cyclical blocks, always considered alongside the study of heritage and its educational application. The first studies local heritage. The second deals with shared heritage, from the local to the global, whether by geographic proximity or the ups and downs of history. The third, the global from the local; local heritage shows us cultures that we see as far away, but that nevertheless are direct descendants.

Research-Creation in Music and the Arts, 2017

lab. Research-Creation in Music and the Arts is largely an English translation of their 2013 book, Les enjeux de la recherche-création en musique; however, the examples have been updated and the structure reorganized. 1 This book is especially welcome given that "research-creation" is easily confused with similar-sounding terms such as "arts-based research," "research-led practice," or "practice-based research." Here, Stévance and Lacasse explain precisely what distinguishes research-creation, what constitutes a researchcreation project, and how to involve students in the process. The book is divided into three large chapters. In chapter 1, the authors discuss the role of fine arts within North American and European universities from the mid-twentieth century onwards, with a particular focus on the Quebec system. Chapter 2 describes some of the specific challenges that are encountered in developing research-creation projects in university music faculties and training students in this area. In chapter 3, the authors offer a precise definition of research-creation, delimit its scope, and provide recommendations concerning best practices and methodological approaches.

2010

La Universidad europea vive actualmente un momento de fuertes cambios debido a la implantación de nuevos planes de estudios basados en el sistema ECTS; cambios que afectan tanto a estudiantes como a docentes: adaptación de nuevas metodologías que inciden profundamente en los procesos de aprendizaje, estando ambos sujetos a estudios e investigaciones por la propia Universidad. En este contexto de transformaciones surgen los siguientes interrogantes:¿ Está preparado el profesorado para desarrollar la ...

British Journal of Music Education, 2009

Based on my own research education courses for doctoral students, I examine the ways in which music provides powerful and rich models for perception, conceptualisation and engagement for both listeners and performers, to cultivate the processes and products of qualitative research in the social science in general, and in music education in particular. I discuss temporality and fluidity, listening and improvisation, originally terms associated with music, and their ramifications for qualitative inquiry. I then present some concrete examples from my research course, not as prescriptions to follow but as invitations for readers to generate their own activities and experiences.

Embodied pedagogy for strings: preparing and performing Ysaÿe’s solo violin sonata no. 2 op. 27 – a journey of unexpected discoveries, 2022

Swiss educator, Émile Jaques-Dalcroze observed over 100 years ago that often music conservatoires focus primarily on the development of technique and repertoire, at the expense of musicianship. His embodied approach to music education aims to connect all our faculties, emotional, corporeal and intellectual, through experiencing music making, in and through movement. This arts practice research addresses how embodiment in classical music instrumental education can be enhanced by an embodied teaching method such as Dalcroze Eurhythmics. The research journey culminated with 'Dance of Shadows', a multidisciplinary , multi-sensorial interpretation of Eugène Ysaÿe's second sonata for solo violin, opus 27. To document the intrinsic reflexivity of the research, the researcher utilises the tools of artistic research and other arts practice methods. The findings of this investigation revealed not only an enhancement of the researcher's embodied preparation and performance practice but also a transformation in the experience of engagement for the audience.

Abstract We offer a multi-voiced performance autoethnography where contemporary music education practices are informed and imbued with the voices of teachers and learners. By dialogically and musically engaging with the very people who live, make music, and engage with learners in music classrooms, we promote contemporary qualitative forms of research and the (re)conception of a sociology of music education as a political and an ethical construction that needs to be grounded in serving communities of music practitioners. Through a pedagogical story, told from the perspectives of music teachers using their own voices, we begin an open conversation about the nature of power structures and struggles in music education research. We invite new possibilities in developing understandings of the complex socio-cultural dynamic of music making, music learning, music teaching, and music researching in all facets of contemporary society. By embracing a broader set of traditions—Arts-Based Educational Research and Creative Analytical Practices—that enable us to go beyond socio-cultural frameworks and orthodox beliefs that currently exist in the music education profession, we seek to (re)form a culturally contextualized, ethos-rooted, sociology of music education.

Journal of Intellectual Disability - Diagnosis and Treatment, 2018

Phenomenon of musical art considered as one of the conditions needed to create artistic and aesthetic communication that nurtures the growth of a spiritual, moral and harmonious personality. This article focusses on finding new bases for music education. It outlines current music education and points out difficulties that are caused by rapid changes in music culture. Due to these changes, music curriculum must find new starting points. We explored and compared the main ideas about music education in its historical development. We conclude that music education today should be built on music making and listening. It can no longer be based on traditional frameworks because they are not familiar to individuals today. Music education should be based on research, and new ways of teaching and learning musical skills and knowledge should guide its practice.

2020

Although doctoral research (and not only) is under the sign of searching for the new, overcoming pre-existence and solving problems specific to the field in which it takes place, in fact, the results are influenced mainly by the freedom that researchers/PhD students allow themselves in order to make associations, to break down barriers, the wall of prejudice. Research in the performing arts area involves, above all, transdisciplinary approaches, which determine us to have an exercise of reflection on the knowledge-action-creativity triad, but also on the relationship between creative technique and research. The rigor of the research does not exclude the abandonment of Procustian patterns, but (only) the lack of arguments, finality and ethics.

Art research journal2/ 1, pp. 69-94., 2015

Art research lies at the vertex of several critical points of contemporary culture. 1 Among these are:  Systemic education reform, ranging from emerging educational technologies to privatization and commercialization of education at all levels.  Discussions on the role of education, from the simple practice of teaching for work paid or as a broad, holistic process that aims for an integral education of individuals who are free, critical thinkers, capable of transforming society.  The role of art in society as a factor in existential enhancement, like leisure activities or as an economic input of tourism and cultural industries.  The role of artists in proposing new concepts for the problems of contemporary society and their ability to offer alternative solutions, or at least to propose new questions, based on non-exclusive rational modes of thought.

"We offer a multi-voiced response to the (re)creation of a sociology of music education, where contemporary music education practices are informed and imbued with the voices of teachers and learners. By dialogically and musically engaging with the very people who live, make music, and engage with learners in music classrooms, we are pointing toward promoting contemporary qualitative forms of research and the (re)conception of a sociology of music education as a political and an ethical construction that needs to be grounded in serving the communities of music practitioners. Through a pedagogical story – told from the perspectives of music teachers using their own voices – we begin an open conversation about the nature of power structures and struggles in music education research, and invite new possibilities in developing understandings of the complex socio-cultural dynamic of music making, music learning, music teaching, and music researching in all facets of contemporary society. By embracing a broader set of traditions (i.e., Arts-Based Educational Research, Creative Analytical Practices) that enable us to go beyond socio-cultural frameworks and orthodox beliefs that currently exist in the music education profession, we seek to (re)form a culturally contextualized, ethos-rooted, sociology of music education. For this reason, our inquiry invites readers to consider the importance of including teachers as dialogic partners in writing and presenting music education research. We encourage and invite music makers and educators to use their own words and experiences toward self-expression and empowerment in writing research. In this paper, we begin to develop a teacher and learner centered sociosophy of music education, and evoke this new form of music education research as an alternative, creative pathway to expanding knowledge in the preparation of reflective-reflexive music teachers and music education researchers. "

Music and Knowledge: A Performer's Perspective, 2017