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This book draws together a range of innovative practices
underpinned by theoretical insight that helps to clarify musical
practices of relevance to the changing nature of schooling and the
transformation of music education. In this way, it addresses a
pressing need to provide new ways of thinking about the application
of music and technology in schools. More specifically it: covers a
diverse and wide range of technology, environments and contexts on
topics that demonstrate and recognize new possibilities for
innovative work in music in education; deals with teaching
strategies and approaches that stimulate different forms of musical
experience, meaningful engagement, musical learning, creativity and
teacher-learner interactions, responses, monitoring and assessment;
investigates how teachers and pupils voice and value their
experiences in particular contexts and environments with specific
software, hardware and forms of technology; explores the
professional development aspects involved in teachers and learners
utilising and interacting with technology and the secondary music
curriculum; and, introduces reflective practices and research
methodologies of great interest and relevance to music teachers,
teacher-trainers, community artists and for researchers and
professional practitioners alike.
Creative and Critical Projects in Classroom Music is both a
celebration and extension of John Paynter and Peter Aston’s
groundbreaking work on creative classroom music, Sound and Silence,
first published in 1970. Building on the central themes of the
original work – the child as artist, the role of musical
imagination and creativity, and the process of making music – the
authors and contributors provide a contemporary response to the
spirit and style of Sound and Silence. They offer reflections on
the ideas and convictions underpinning Paynter and Aston’s work
in light of scholarship developed during the intervening years.
This critical work is accompanied by 16 creative classroom projects
designed and enacted by contemporary practitioners, raising
questions about the nature and function of music in education and
society. In summary, this book aims to: Celebrate seminal work on
musical creativity in the classroom. Promote the integration of
practical, critical and analytical writing and thinking around this
key theme for music education. Contribute to initiating the next 50
years of thought in relation to music creativity in the classroom.
Offering a unique combination of critical scholarship and practical
application, and published on the occasion of the 50th anniversary
of Sound and Silence, themes from Paynter and Aston’s work are
here given fresh context that aims to inspire a new generation of
innovative classroom practice and to challenge current ways of
thinking about the music classroom.
Creative and Critical Projects in Classroom Music is both a
celebration and extension of John Paynter and Peter Aston's
groundbreaking work on creative classroom music, Sound and Silence,
first published in 1970. Building on the central themes of the
original work - the child as artist, the role of musical
imagination and creativity, and the process of making music - the
authors and contributors provide a contemporary response to the
spirit and style of Sound and Silence. They offer reflections on
the ideas and convictions underpinning Paynter and Aston's work in
light of scholarship developed during the intervening years. This
critical work is accompanied by 16 creative classroom projects
designed and enacted by contemporary practitioners, raising
questions about the nature and function of music in education and
society. In summary, this book aims to: Celebrate seminal work on
musical creativity in the classroom. Promote the integration of
practical, critical and analytical writing and thinking around this
key theme for music education. Contribute to initiating the next 50
years of thought in relation to music creativity in the classroom.
Offering a unique combination of critical scholarship and practical
application, and published on the occasion of the 50th anniversary
of Sound and Silence, themes from Paynter and Aston's work are here
given fresh context that aims to inspire a new generation of
innovative classroom practice and to challenge current ways of
thinking about the music classroom.
John Finney examines the child-centred progressive tradition to
create a fresh way of evaluating ideas and practices that have
evolved since 1950, that have shaped the lives of music teachers
and their pupils, and that have now become disfigured, residual and
altogether lost in the light of social, cultural and political
change. The book is a critique of the present situation with an
intention to expose the dangers in our current pursuit of future
gains that are thought to serve the making and sustaining of the
social order. The project draws in major debates of the period,
along with their protagonists, counter-pointed by the voices of
teachers and pupils. At the same time, the structuring voices of
policy and governance become ever louder as we reach the present
time. Finney presents a compelling, analytical account through a
series of six episodes, each seeking to capture the spirit and
fervour characteristic of a particular phase within the period
studied. In the concluding chapter the narrative developed is
reviewed. From this the idea of music education as an ethical
pursuit is proposed. Finney argues that classroom relationships can
be thought of as playfully dialogic, where teacher and pupil remain
curious, and where there is serious attention to what is to be
taught and why. This will always need to be negotiated, with the
expressed and inferred needs of children working together to find a
critical approach to what is being learnt. Finney's book provides
fresh inspiration for practitioners and new challenges for
researchers, and as such is a landmark in the field of arts and
music education.
John Finney examines the child-centred progressive tradition to
create a fresh way of evaluating ideas and practices that have
evolved since 1950, that have shaped the lives of music teachers
and their pupils, and that have now become disfigured, residual and
altogether lost in the light of social, cultural and political
change. The book is a critique of the present situation with an
intention to expose the dangers in our current pursuit of future
gains that are thought to serve the making and sustaining of the
social order. The project draws in major debates of the period,
along with their protagonists, counter-pointed by the voices of
teachers and pupils. At the same time, the structuring voices of
policy and governance become ever louder as we reach the present
time. Finney presents a compelling, analytical account through a
series of six episodes, each seeking to capture the spirit and
fervour characteristic of a particular phase within the period
studied. In the concluding chapter the narrative developed is
reviewed. From this the idea of music education as an ethical
pursuit is proposed. Finney argues that classroom relationships can
be thought of as playfully dialogic, where teacher and pupil remain
curious, and where there is serious attention to what is to be
taught and why. This will always need to be negotiated, with the
expressed and inferred needs of children working together to find a
critical approach to what is being learnt. Finney's book provides
fresh inspiration for practitioners and new challenges for
researchers, and as such is a landmark in the field of arts and
music education.
Water dominates the surface of Earth and is vital to life on our
planet. It is a remarkable liquid which shows anomalous behaviour.
In this Very Short Introduction John Finney introduces the science
of water, and explores how the structure of water molecules gives
rise to its physical and chemical properties. Considering water in
all three of its states as ice and steam as well as liquid, Finney
explains the great importance of an understanding of its structure
and behaviour to a range of fields including chemistry,
astrophysics, and earth and environmental sciences. Finney
describes the role of water in biology, and ends with a discussion
of the outstanding controversies concerning water, and some of the
'magical' properties which have been claimed for it. ABOUT THE
SERIES: The Very Short Introductions series from Oxford University
Press contains hundreds of titles in almost every subject area.
These pocket-sized books are the perfect way to get ahead in a new
subject quickly. Our expert authors combine facts, analysis,
perspective, new ideas, and enthusiasm to make interesting and
challenging topics highly readable.
MasterClass in Music Education provides vivid, topical, reflective
and above all 'real' accounts from existing teachers researching in
the field, together with theoretical insights and a guided view of
the relevant existing literature. Students embarking upon research
will gain a many-faceted understanding of the possibilities for
using action research and other research methods to explore the
interesting and challenging issues confronting music education. At
the same time, they will be able to develop an understanding of how
to carry out research from the real life case study accounts
written by their peers. John Finney and Felicity Laurence provide
overarching support, drawing on their own experiences as
supervisors of MA Music Education students to frame the debates and
reflections which arise.
This imaginative and thought-provoking study by one of the church's
most experienced and respected evangelical leaders suggests that
many contemporary evangelical initiatives - and even respected and
successful courses such as Alpha and Emmaus - risk diminishing the
breadth and power of the gospel into a formula limited to sin and
forgiveness. Emerging Evangelism accepts the reality of the decline
of the churches and yet finds hope in new forms of church and
monastic community life which are beginning to appear in western
Europe.
John Finney's account of Celtic and Roman evangelism will challenge
and change the way we evangelise
MasterClass in Music Education provides vivid, topical, reflective
and above all 'real' accounts from existing teachers researching in
the field, together with theoretical insights and a guided view of
the relevant existing literature. Students embarking upon research
will gain a many-faceted understanding of the possibilities for
using action research and other research methods to explore the
interesting and challenging issues confronting music education. At
the same time, they will be able to develop an understanding of how
to carry out research from the real life case study accounts
written by their peers. John Finney and Felicity Laurence provide
overarching support, drawing on their own experiences as
supervisors of MA Music Education students to frame the debates and
reflections which arise.
This book is focused on and recognises the valuable and varied
roles and interactions with ICT, as a source and resource for
teaching, learning and research in music and music making in the
secondary school. This book draws together a range of innovative
practices underpinned by theoretical insight that helps to clarify
musical practices of relevance to the changing nature of schooling
and the transformation of music education. In this way, it
addresses a pressing need to provide new ways of thinking about the
application of music and technology in schools. More specifically
it covers a diverse and wide range of technology, environments and
contexts on topics that demonstrate and recognize new possibilities
for innovative work in music in education. It deals with teaching
strategies and approaches that stimulate different forms of musical
experience, meaningful engagement, musical learning, creativity and
teacher-learner interactions, responses, monitoring and
assessment.It investigates how teachers and pupils voice and value
their experiences in particular contexts and environments with
specific software, hardware and forms of technology. It explores
the professional development aspects involved in teachers and
learners utilising and interacting with technology and the
secondary music curriculum. It introduces reflective practices and
research methodologies of great interest and relevance to music
teachers, teacher-trainers, community artists and for researchers
and professional practitioners alike. This series takes a scholarly
look at the significant impact digital technology has had on
teaching. Each book takes a different subject and discusses the
specific implications the increased used of digital technology as a
tool for learning has on their particular topic.
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