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"Activating Diverse Creativities and Entrepreneurship "analyses
ways in which music programs in higher education can activate and
foster diverse musical creativities, as well as the relationship of
musical creativities to entrepreneurship work in higher education
teaching and learning practices. These issues are of vital
importance to contemporary educational practice and training in
both university and conservatoire contexts, particularly with the
growing importance of entrepreneurship, defined here as a type of
creativity, for successful musicians working in the 21st century
creative and cultural industries. International contributors
address a broad spectrum of musical creativities in higher
education, such as improvisational creativity, empathic creativity
and leadership creativity, demonstrating the transformative
possibilities of embedding them in the teaching and learning of
higher education music. The chapters analyse the active practice of
musical creativities in teaching and learning and recognize their
mutual dependency. The analysis of the former - teaching for
creativity - focuses on higher music education teachers using
imaginative approaches in order to make learning more interesting,
effective and relevant. The exploration of the latter - learning
specific creativities in lively communities within university and
conservatoire settings - addresses the issues related to the
nurturing and development of students' musical creativities.
This edited volume explores how selected researchers, students and
academics name and frame creative teaching and learning as
constructed through the rationalities, practices, relationships,
events, objects and systems that are brought to educational sites
and developed by learning communities. The concept of creative
learning questions the starting-points and opens up the outcomes of
curriculum, and this frames creative teaching not only as a process
of learning but as an agent of change. Within the book, the various
creativities that are valued by different stakeholders teaching and
studying in the higher music sector are delineated, and processes
and understandings of creative teaching are articulated, both
generally in higher music education and specifically through their
application within the design of individual modules. This focus
makes the text relevant to scholars, researchers and practitioners
across many fields of music, including those working in musicology,
composition, performance, music education, and music psychology.
The book contributes new perspectives on our understanding of the
role of creative teaching and learning and processes in creative
teaching across the domain of music learning in higher music
education sectors.
This edited volume explores how selected researchers, students and
academics name and frame creative teaching and learning as
constructed through the rationalities, practices, relationships,
events, objects and systems that are brought to educational sites
and developed by learning communities. The concept of creative
learning questions the starting-points and opens up the outcomes of
curriculum, and this frames creative teaching not only as a process
of learning but as an agent of change. Within the book, the various
creativities that are valued by different stakeholders teaching and
studying in the higher music sector are delineated, and processes
and understandings of creative teaching are articulated, both
generally in higher music education and specifically through their
application within the design of individual modules. This focus
makes the text relevant to scholars, researchers and practitioners
across many fields of music, including those working in musicology,
composition, performance, music education, and music psychology.
The book contributes new perspectives on our understanding of the
role of creative teaching and learning and processes in creative
teaching across the domain of music learning in higher music
education sectors.
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone
Activating Diverse Musical Creativities analyses the ways in which
music programmes in higher education can activate and foster
diverse musical creativities. It also demonstrates the relationship
between musical creativities and entrepreneurship in higher
education teaching and learning. These issues are of vital
significance to contemporary educational practice and training in
both university and conservatoire contexts, particularly when
considered alongside the growing importance of entrepreneurship,
defined here as a type of creativity, for successful musicians
working in the 21st century creative and cultural industries.
International contributors address a broad spectrum of musical
creativities in higher education, such as improvisational
creativity, empathic creativity and leadership creativity,
demonstrating the transformative possibilities of embedding these
within higher music education teaching and learning. The chapters
explore the active practice of musical creativities in teaching and
learning and recognize their mutual dependency. The contributors
consider philosophical and practical concerns in their work on
teaching for creativity in higher music education and focus on
practices using imaginative approaches in order to make learning
more interesting, effective and relevant.
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