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Welcome to the 2018 Music in Schools and Teacher Education Commision (MISTEC) Seminar at NYU Prague - July 8-12, 2018.

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Papers & Workshops [clear filter]
Sunday, July 8
 

2:00pm

Paper 1: Music education in times of trouble
Eva Saether

Presenters
avatar for Eva Marianne Sæther

Eva Marianne Sæther

Professor, Lund University, Malmö Academy of Music


Sunday July 8, 2018 2:00pm - 3:00pm
Havel Room Malé náměstí 11, 2nd Floor
 
Monday, July 9
 

9:30am

Paper 2: Getting out of Carnegie Hall: Problematizing a musician-teacher collaboration
Ailbhe Kenny

Presenters
avatar for Ailbhe Kenny

Ailbhe Kenny

Lecturer Music Education, Mary Immaculate College


Monday July 9, 2018 9:30am - 10:30am
Havel Room Malé náměstí 11, 2nd Floor

12:00pm

2:00pm

Paper 4: Sowing the seeds of global lifelong learning through music: Advancing early childhood music education together with Hong Kong teachers
Discussion Questions 
1. In this study, action research has been used to bring more impact from research to practice. From your experience, do you use action research too? If not, what is your method to draw a close connection between research and practice? 
2. Through an interdisciplinary curriculum that integrated music, the current project aimed to develop students’ love of learning and interest in school work, and eventually lead to life-long learning. Do you have other suggestions as music educators to achieve this goal? 
3. The global trend of adapting contemporary educational approach such as student-centered learning and interdisciplinary curriculum is popular in many countries in the world. Is that the case in your country? If so, do you need to make adjustment in adapting it to your culture?


Lily Chen-Hafteck, University of California, USA, & 
Marina Wai-Yee Wong, Hong Kong Baptist University, Hong Kong.

Abstract 
Music in preschool is important, as it can motivate young children’s love of learning and sow the seeds of lifelong learning globally. The present study aimed to facilitate the Hong Kong preschool teachers in critically evaluating their music pedagogy and reflecting on how to advance the implementation of a comprehensive, creative and culturally responsive early childhood music curriculum in Hong Kong. Action research method was used and qualitative data were collected. Ten teachers from three preschools participated. During three months, eight lessons were observed and post-observation meetings were conducted. Through the action research cycle of observing – reflecting – identifying problem – developing action plan – acting on the plan – back to observing, etc., teachers and researchers were able to develop more efficient teaching strategies and lesson plans after each meeting. Data were collected through pre- and post-project interviews and questionnaires with teachers, interviews with principals and video-recordings of all the lessons observed. It was found that action research can help teachers in increasing their confidence in teaching music and interdisciplinary arts lessons. By integrating music into the preschool curriculum while providing high quality music learning experiences, children were motivated to learn music and performed well. Moreover, the Hong Kong culture is a special one that combines Chinese and Western ideologies. Deep inside, teachers possess a lot of the traditional Chinese values. During the project, the participating teachers became aware that any foreign teaching philosophy and methods need to be adapted and adjusted according to student learning needs so that they are suitable to the local Hong Kong children. They had to work on the balancing act between teacher-directed and child-centered approaches in their teaching in order to achieve an effective learning environment in the classroom without sacrificing children’s opportunity to express their creativity. 

Keywords :In-service teacher education, Hong Kong, preschool 

Presenters

Monday July 9, 2018 2:00pm - 3:00pm
Havel Room Malé náměstí 11, 2nd Floor

3:00pm

Workshop 1: STEAM education: Empowering students to become music inventors through the application of coding electronic building blocks and contemporary music composition techniques
Discussion Questions 
1. To what extent does instrument making be a kind of music making?
2. What is the difficulty of incorporating the STEAM initiative in classroom music?
3. How does the “traditional” paradigm of creative music-making activity be shifted under the STEAM initiative?

Recently, there are strong needs to promote STEAM education to nurture students' creativity, collaboration and problem-solving skills through the integration of academic disciplines namely Science, Technology, Engineering, Arts and Mathematics. With the funding of Teaching Development Grant by the University, the presenter has successfully launched a course entitled Creativity in Music which features musical creativity and STEAM education. It enables student of different levels to enjoy creative music-making and foster innovation. 

The workshop aims at providing hands-on experience to the participants on how to incorporate coding software, electronic building blocks and contemporary music composition techniques in classroom music. The content of the workshop will provide hands-on experiences to the participants in which they will be guided to (1) Invent a musical instrument(s) through the application of electronic building blocks; and (2) Create/Improvise a piece of creative music for the instruments. The presenter will demonstrate how to design a music programme by applying relevant coding language which connects objects with virtual patch to create interactive sounds for the invented electronic instrument. 
Note: The presenter will provide necessary electronic building blocks for the workshop participants.

Keywords: STEAM; Music Composition; Coding; Technology; Electronic Building Blocks



Presenters
avatar for Chi Hin Leung

Chi Hin Leung

Assistant Professor, The Education University of Hong Kong
Dr Chi-hin Leung’s compositions mix elements of East and West, in the process revealing the composer’s diverse cultural background and his particular interest in timbral and textural explorations. His works have been featured as part of, amongst others, ISCM World New Music Days... Read More →


Monday July 9, 2018 3:00pm - 4:00pm
Havel Room Malé náměstí 11, 2nd Floor

4:30pm

Paper 5: "Music harms you": A refugee student narrates his music learning journey
Discussion Questions 
1. Are there music programs or other specific activities, which help refugee/immigrant pupils/students to incorporate in a class environment and help the rest of the pupils/students build bridges with new cultures? 
2. In what ways can a music teacher in your country help a refugee/immigrant student to integrate in the new “homeland”? 
3. Do you know other music journey stories concerning refugee pupils/students in your country? Are there any similarities or differences when compared to Mohammed’s experience? 


In a rapidly changing world, the number of refugee children who integrate in education is increasing. Each of them carries a unique musical heritage of his/her origin country and music learning continues. One of these refugee children is Mohammed, who narrates his music learning journey from his homeland to Greece, his integration in the Greek educational system and music lessons, the barriers and difficulties which he faces and his music expectations and dreams in the new country. Apart from his narration, data have been collected by interviewing his music teacher at Junior High School and his guardian. Mohammed’s story reminds us and underlines the importance of music education for refugees and asylum-seeking children, the role of the school and the music teacher’s approach, as well as the effort of these children to fulfill the need to belong and their expectations.

Presenters
avatar for Elissavet Perakaki

Elissavet Perakaki

Head teacher, Music Educator, Directorate of Secondary Education, Pireaus


Monday July 9, 2018 4:30pm - 5:30pm
Havel Room Malé náměstí 11, 2nd Floor
 
Wednesday, July 11
 

9:00am

Paper 6: Reflections on a three-way mentoring program using ePortfolios: I Pagliacci (Leoncavallo) under the Buddy Mentoring Program
Narelle Yeo and Jennifer Rowley invite you to read our paper and to explore the following questions together with collegaues on Wedesday (bright and early at 9am!) in an interactive hour presentation with lots of group discusson time and activities to take away for developing your own ideas about mentoring programs.

Questions for discussion:
1. How do the artistic goals of public performance meld with a mentoring project for performers of different experience and abilities?

2. How do ePortfolios enable effective personal reflection and learning outcomes for music students?

3. How effective are mentoring projects in instilling graduate qualities in students?

 

Presenters
avatar for Jennifer Rowley

Jennifer Rowley

A/Prof, Sydney Conservatorium of Music
I currently work in Music Education at the Sydney Conservatorium of Music (SCM) at The University of Sydney where my role is in teacher education training musicians to be music teachers. Within this role, I co-ordinates the professional experience (practicum) placement program for... Read More →
avatar for Narelle Yeo

Narelle Yeo

Senior Lecturer, Sydney Conservatorium of Music
I am a singer, director, educator, mentor, creative who is interested in fostering creativity using music as a powerful tool for change. My research areas are mentoring, performance practice, ethics and identity, complex and adaptive systems and the social power of music in educ... Read More →


Wednesday July 11, 2018 9:00am - 10:00am
Havel Room Malé náměstí 11, 2nd Floor

10:00am

Paper 7: Lifelong learning through music: Opportunities for teacher education
Discussion Questions 
1. What is your experience/are your thoughts on innovative ways of curriculum delivery? What makes it/them innovative? How does/did it/they impact on learner behaviour? 
2. Since teaching benefits from a good model, how has teacher education in your country evolved with respect to tooling and equipping the teacher to meet expectations? 
3. Since music has content and processes, participation in music is ideally an aspect of life-long learning. Can you identify with such a statement? Elaborate how or how not. 

Presenters
avatar for Emily Achieng Akuno

Emily Achieng Akuno

Professor, The Co-operative University of Kenya


Wednesday July 11, 2018 10:00am - 11:00am
Havel Room Malé náměstí 11, 2nd Floor

12:00pm

Paper 8: Drawing on experience: Using visual images to promote professional identity development in pre-service music teachers
Discussion Questions 
1. In what situations, or with which students, might drawing and/or visual imagery be effective? (as a means of generating data, or as a teaching/learning experience)? 

2. What effects might the images of teachers widely disseminated across social media sites such as Facebook have on the developing identities of pre-service teachers? 

3. How important are the visual images used in university advertising for music education degress, and what should they depict? 

4. How do you "see" yourself as a teacher? 

Presenters
avatar for Wendy Brooks

Wendy Brooks

Director, Upper Hunter Conservatorium of Music


Wednesday July 11, 2018 12:00pm - 1:00pm
Havel Room Malé náměstí 11, 2nd Floor

2:00pm

Workshop 2: Video as pedagogy: Scaffolding, supporting, structuring, and sustaining teacher reflection in music education
Discussion Questions 
1.How do the video tools explored in this session contribute to insightful teacher professional development? 

2.What are the features of various video discussion platforms and how can they support music teacher education in different learning stages or settings?

3.What are some of the ethical considerations when planning to use video?

4.In what ways does the use of video promote and foster organizational and collaborative skills in student teachers?

5.How can mentors help novices and educators move beyond examining “what” happened during a teaching episode and understand “why” they teach as they do, “how” their teaching actions impact the classroom and ‘if’ teaching activities result in actual student learning.

Presenters
avatar for Frank Heuser

Frank Heuser

FRANK HEUSER is head of the Music Education area in the Department of Music at UCLA.  Most recently, he served on the music education faculty at the University of Oregon, where his duties included undergraduate instruction as well as graduate teaching and research advisement.  His... Read More →
avatar for Paula Hughes

Paula Hughes

Lecturer in Keyboard and Academic Studies, DIT Conservatory of Music and Drama, Dublin
avatar for Mildred Yi

Mildred Yi

Lecturer, Music Education, University of California, Los Angeles


Wednesday July 11, 2018 2:00pm - 3:00pm
Havel Room Malé náměstí 11, 2nd Floor

4:30pm

Paper 9: A life-long perspective to growing music teacher identity
The paper presents a life-long perspective and ecological approach to growing music teacher identity. It posits that growing the music teacher identity involves working towards episodes when music teachers feel close to the core of their beings as music teachers. In view of diverse possibilities of music teacher identity and the broader goals of music teacher growth, the study adapted transformative learning theory in support of the growth of music teacher identity. The paper frames the discussion on music teacher growth to examine the links between biography, identity and sense of agency. It argues that music teacher identity is a unique composite of different facets of one’s self – the ethical self, self-efficacy, self-concept, possible self, emotional self, teaching self, musical self, we-self and more. It urges for an openness to broader definitions, different images of quality, and different possibilities of a music teacher identity. It also argues for a broadened definition of transformative learning as a theoretical frame for understanding and promoting the growth of music teachers. This transformative learning is one that goes beyond focussing on the rational and critical thinking to focussing on the whole being of the person. Using a two-phase, exploratory, mixed methods design, the research integrated both phenomenological and quantitative perspectives. The Phase 1 qualitative study of 12 participants revealed themes that supported transformative learning drawn from what these participants considered to be critical turning points in the development of their professional identities. The Phase 2 questionnaire study (n=168) showed the extent to which different types of music experiences, perceived music abilities and other developmental opportunities are positively or negatively associated with the perceived music teaching abilities and identity of different groups of music teachers (specialists and generalists, primary and secondary, beginning and experienced teachers). The findings suggest that transformative learning experiences were created by interactions between teachers’ personal identity, their activist identity, their music and teaching experiences, the impact of students, their social relationships, and the opportunities and pragmatic tensions afforded by the ecological nature of the social world. The areas that influence teacher growth, paradoxically, could also be the same areas that inhibit teacher growth. This ecological perspective to learning could help shift our focus from “What we can do for teachers’ professional development?” to “What conditions could support or prevent positive transformative learning of music teachers?”.

Presenters
avatar for Siew Ling Chua

Siew Ling Chua

Singapore Teachers' Academy for the aRts


Wednesday July 11, 2018 4:30pm - 5:30pm
Havel Room Malé náměstí 11, 2nd Floor
 
Thursday, July 12
 

9:00am

Paper 10: Jump in and run with it: Taking a creative risk
Discussion Questions 
1. Does this partnership approach (primary generalist teachers, visiting artists, music education students, community music students) appear useful for working with student music teachers at the very start of their initial teacher (secondary) education programmes? 

2. The theme of the week 'jump in and run with it' was to encourage everyone to take a creative risk. This has implications for planning processes and structures. How do you view this improvisatory approach to pedagogy with regard to beginning music teachers? 

3. Music teachers may go on to have portfolio careers - teaching music not only in schools, but also in community settings and in informal contexts. Do you have any student placement opportunities that you can share that might be an alternative model in your initial teacher education programmes? 

Presenters
avatar for Pauline Black

Pauline Black

Lecturer in Music Education / Freelance Practitioner, University of Aberdeen
I have worked as a music education lecturer at the University of Aberdeen since 2012 and I am Programme Director of the BMus (Hons) Education programme and Performance Coordinator in the department. I have over twenty years teaching experience and I continue to spend one day per... Read More →


Thursday July 12, 2018 9:00am - 10:00am
Havel Room Malé náměstí 11, 2nd Floor

10:00am

Paper 11: Musical Futures professional learning in the classroom
Discussion Questions 
1. For the teachers in the research, the translation from professional learning (PL) experience was complex. The teachers chose to implement aspects of the PL that aligned with their values, how might this restrict the aims of a PL experience?

2. The PL experiences encountered by the teachers resonated with their prior experiences as learners and their existing teaching approach. As music educators, is there an approach that resonates with you? Was it similar or different to what you experienced as a learner?

3. How effective are PL models/experiences and how do we know? Most evaluation is done via a survey at the end of a workshop rather than after a period of time. How can we evaluate the effectiveness of PL? 


Presenters
avatar for Neryl Jeanneret

Neryl Jeanneret

Associate Professor, Melbourne Graduate School of Education
EW

Emily Wilson

PhD candidate, University of Melbourne
Emily Wilson is currently a PhD candidate and lecturer at the Melbourne Graduate School of Education, University of Melbourne. She lectures in secondary and primary pre-service teacher education. Emily has over 10 years experience teaching classroom and instrumental music at primary... Read More →


Thursday July 12, 2018 10:00am - 11:00am
Havel Room Malé náměstí 11, 2nd Floor

12:00pm

Paper 12: What I learned from prison: Practice teaching with community-based learning partners
Discussion Questions 

1. What specific strategies do/could you employ to create reciprocal/integrated relationships with schools (or other organizations) and mentor teachers who work with your preservice music teachers?

2. How do/might preservice music teachers investigate the CONTEXT in which they will teach prior to or in the early stages of their practice teaching experience? How might this information be brought back into collegiate course discussions and/or course content?

3. Since student reflection is a vital component of community-based learning, what types of "directed critical reflection" questions could students encounter, that would prompt them to connect course content with actual practice teaching experiences with children?

4. What challenges might you and your preservice music teachers face in creating bilateral (or multilateral) relationships with school partners? What are suggestions for addressing these challenges?

Presenters

Thursday July 12, 2018 12:00pm - 1:00pm
Havel Room Malé náměstí 11, 2nd Floor

2:00pm

Workshop 3: Recomposed: Engaging secondary school students through meaningful composition projects
Discussion Questions 
1. Do these projects presented today focus most heavily on musicianship, composition, performance, musicology, or a considered balance? 
2.Does the assessment design capitalize more on extrinsic or intrinsic motivation to improve music outcomes? 
3.What is the applicability of this approach to music assessment in other jurisdictions? Are there opportunities to pivot practice in other jurisdictions? 


In recent years, music students at Brisbane Girls Grammar School have undertaken ambitious collaborative composition projects in order to discover the ‘pleasure of the rigour’ of music learning. From interpreting a production brief by Taylor Swift in the middle school through to recomposing full orchestral scores for pre-existing films and full-scale reinterpretations of the works of iconic artists and poets, students immerse themselves in targeted activities designed to develop skills in improvisation, composition, performance and recording.

This workshop will engage participants in specific examples of the measured steps taken in the classroom, demonstrating formative learning experiences through the teenage years and highlighting ways teachers can encourage students to produce high-calibre, polished performances of original works. Example student responses will be used throughout to illustrate end products.

Across the suite of activities in the workshop, participants will experience first-hand the five-year evolution of skills required for a final culminating group composition. Active music making in the session will reinforce the applicability of an aural-vocal programme when designing programmes to ensure students are equipped with skills to compose in a real-world context.

Presenters
avatar for Andrew Pennay

Andrew Pennay

Director of Creative Arts, Brisbane Girls Grammar School


Thursday July 12, 2018 2:00pm - 3:00pm
Havel Room Malé náměstí 11, 2nd Floor

3:00pm

Paper 13: Digital media use and secondary music education
Discussion Questions 
  1. We have just started to analyze these data. We are interested in your experience, your questions about our data in order to explore it further.
  2. Our data mirrors the general literature, girls interact more socially with the technology while boys are engaged in "interest-driven practices", identifying as geeks, gamers, creative, etc. Should we be concerned about these gender differences? Do these differences have implications for how we design our learning environments?
  3. Should we be concerned that students are not doing very creative things with technology in school? Given the changing nature of the work world, how can we engage students in entrepreneurial ways in our music education classrooms?
  4. How might we create greater connections between students' creative technology use in-school and outside of school? How might we harness the creative potential of digital media use in our classrooms in order to continue to be relevant, allowing students to express themselves in new ways?


Presenters
avatar for Susan O'Neill

Susan O'Neill

Simon Fraser University
avatar for Zara Pierre Vaillancourt

Zara Pierre Vaillancourt

Lecturer, Université Laval
This is a brief bio.


Thursday July 12, 2018 3:00pm - 4:00pm
Havel Room Malé náměstí 11, 2nd Floor