This post contains my answers and reflections after reading an article by Tobias (2012) on hybridity presented in a hybrid manner. Some of the questions I address are:
Tobias, E. S. (2012). Hybrid spaces and hyphenated musicians: Secondary students' musical engagement in a songwriting and technology course. Music Education Research, 14(3), 329-346. Quotes from reading:
This post presents my findings in an artistic medium on participatory culture and musicking after reading articles by Jenkins et al. (2009) and Tobias (2013).
The main questions I answered were:
Jenkins, H., Purushotma, R. Weighel, M., Clinton, K., & Robinson, A. J. (2009). Executive summary. In Confronting the challenges of participatory culture: Media education for the 21st century (pp. 3-4). Boston: MIT Press. Tobias, E. S. (2013). Toward convergence: Adapting music education to contemporary society and participatory culture. Music Educators Journal, 99(4), 29-36. This post is based on two readings by Kratus (2007) and Williams (2011) that explores why secondary general might be a thing and why it is needed. Below I explain my thoughts and answer the following questions:
Williams, D. A. (2011). The elephant in the room. Music Educators Journal, 98(1), 51-57. One key point of “Music Education at the Tipping Point” by Kratus (2007) is that music education has to remain relevant, as well as move forward, in order to stay alive. Another key point is that in order to keep music education pertinent, it has to have focused, passionate mavens whose ideas are tested and refined and a community around them who believe that change can occur. Based on this article, secondary general music is music education and curricula that is based on how people experience music in their lives today Some type of activities include creating original opera and students composing original music that they can send to professional composers for revisions. Classes could be popular music ensembles, ukulele groups, and a songwriting class. The need for secondary general music is to preserve musical traditions of the past, while embracing the musical culture of the present and future. It also must still be connecting people to music in fulfilling and educational ways, though this might mean utilizing different ways than the past. One question I had for Kratus is “What is an example of who the mavens, connectors, and salesmen would be for the world of music education?” With this question, I am trying to pinpoint how music educators fit in – are there circumstances where music educators are lacking and are not currently participating in creating new ideas, connecting them, or selling them to the world of music education? If so, how can music educators better be a part of this process?
The key point in Williams (2011) article, “The Elephant in the Room”, is that the music education profession is not making strides in the field because of the beliefs that secondary school music programs must have traditional ensembles and that any music class added that is not band or choir is not as important. Secondary general music to Williams is music experiences that are meaningful to students and help them develop lifelong musical skills. Activities this may involve are a guitar or an iPad class where students play music they compose or arrange themselves, a hip-hop or deejaying course, or a class where students investigate the popular music business while producing their own music. The rationale for secondary general music is to adapt the music culture so that more meaningful music experiences are available for present-day students. If I could ask Williams a question it would be “What do you think the future/standards of music classes will be?” and “What do you think the next elephant in the room for music education will be?”. Although, I hope that the latter question will not have to be answered because the field of music education will learn from their mistakes and continue to constantly be adapting to the culture around them. |
Davina MiawOn this page, I will present examples of my scholarship in the form of reflective essays and philosophical assignments. Archives
November 2019
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