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Fresh perspectives on teaching and evaluating music performance in
higher education are offered in this book. One-to-one pedagogy and
Western art music, once default positions of instrumental teaching,
are giving way to a range of approaches that seek to engage with
the challenges of the music industry and higher education sector
funding models of the twenty-first century. Many of these
approaches - formal, informal, semi-autonomous, notated, using
improvisation or aleatory principles, incorporating new technology
- are discussed here. Chapters also consider the evolution of the
student, play as a medium for learning, reflective essay writing,
multimodal performance, interactivity and assessment criteria. The
contributors to this edited volume are lecturer-practitioners -
choristers, instrumentalists, producers and technologists who
ground their research in real-life situations. The perspectives
extend to the challenges of professional development programs and
in several chapters incorporate the experiences of students.
Grounded in the latest music education research, the book surveys a
contemporary landscape where all types of musical expression are
valued; not just those of the conservatory model of decades past.
This volume will provide ideas and spark debate for anyone teaching
and evaluating music performance in higher education.
Fresh perspectives on teaching and evaluating music performance in
higher education are offered in this book. One-to-one pedagogy and
Western art music, once default positions of instrumental teaching,
are giving way to a range of approaches that seek to engage with
the challenges of the music industry and higher education sector
funding models of the twenty-first century. Many of these
approaches - formal, informal, semi-autonomous, notated, using
improvisation or aleatory principles, incorporating new technology
- are discussed here. Chapters also consider the evolution of the
student, play as a medium for learning, reflective essay writing,
multimodal performance, interactivity and assessment criteria. The
contributors to this edited volume are lecturer-practitioners -
choristers, instrumentalists, producers and technologists who
ground their research in real-life situations. The perspectives
extend to the challenges of professional development programs and
in several chapters incorporate the experiences of students.
Grounded in the latest music education research, the book surveys a
contemporary landscape where all types of musical expression are
valued; not just those of the conservatory model of decades past.
This volume will provide ideas and spark debate for anyone teaching
and evaluating music performance in higher education.
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