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Expanding the Space for Improvisation Pedagogy in Music is a
critical, research-based anthology exploring improvisation in music
pedagogy. The book broadens the understanding of the potentials and
possibilities for improvisation in a variety of music education
contexts and stimulates the development of knowledge and reflection
on improvisation. The book critically examines the challenges,
cultural values, aims and methods involved in improvisation
pedagogy. Written by international contributors representing a
variety of musical genres and research methodologies, it takes a
transdisciplinary approach and outlines a way ahead for
improvisation pedagogy and research, by providing a space for the
exchange of knowledge and critique. This book will be of great
interest to scholars, researchers, and postgraduate students in the
fields of arts education, music education, improvisation, music
psychology, musicology, ethnomusicology, artistic research and
community music. It will also appeal to music educators on all
levels in the field of music education and music psychology.
This book is a collection of leading international authors in the
field of music education taking the concept of 'craft' as a
starting point to deconstruct and reconstruct their understanding
of the practices and theories of music education. Their insights
draw from deep wells of resources located in historical,
philosophical, epistemological, musicological and educational
traditions that lead to rich and complex insights on the evolving
field of music education. In so doing, they generate a
constellation of new understandings and illustrations of what
crafts can mean in this field. Historically, the idea of craft was
typically associated with a skill or experience in knowing how to
do or make something, or an activity of some kind that requires
specific professional skills. In Old Norse, the concept for craft
was kraptr, meaning strength and virtue, while Old English and
continental use was associated with power and physical strength, as
well as skill. When these definitions of 'crafts' are infused into
contemporary understandings of the field of music education as a
professional field, a whole new set of possible interpretations are
unearthed. Such insights are not exhaustive, but rather, point the
way in which this professional, diverse, inclusive and ambiguous
field might continue to evolve in the 21st century.
This book is a collection of leading international authors in the
field of music education taking the concept of 'craft' as a
starting point to deconstruct and reconstruct their understanding
of the practices and theories of music education. Their insights
draw from deep wells of resources located in historical,
philosophical, epistemological, musicological and educational
traditions that lead to rich and complex insights on the evolving
field of music education. In so doing, they generate a
constellation of new understandings and illustrations of what
crafts can mean in this field. Historically, the idea of craft was
typically associated with a skill or experience in knowing how to
do or make something, or an activity of some kind that requires
specific professional skills. In Old Norse, the concept for craft
was kraptr, meaning strength and virtue, while Old English and
continental use was associated with power and physical strength, as
well as skill. When these definitions of 'crafts' are infused into
contemporary understandings of the field of music education as a
professional field, a whole new set of possible interpretations are
unearthed. Such insights are not exhaustive, but rather, point the
way in which this professional, diverse, inclusive and ambiguous
field might continue to evolve in the 21st century.
Expanding the Space for Improvisation Pedagogy in Music is a
critical, research-based anthology exploring improvisation in music
pedagogy. The book broadens the understanding of the potentials and
possibilities for improvisation in a variety of music education
contexts and stimulates the development of knowledge and reflection
on improvisation. The book critically examines the challenges,
cultural values, aims and methods involved in improvisation
pedagogy. Written by international contributors representing a
variety of musical genres and research methodologies, it takes a
transdisciplinary approach and outlines a way ahead for
improvisation pedagogy and research, by providing a space for the
exchange of knowledge and critique. This book will be of great
interest to scholars, researchers, and postgraduate students in the
fields of arts education, music education, improvisation, music
psychology, musicology, ethnomusicology, artistic research and
community music. It will also appeal to music educators on all
levels in the field of music education and music psychology.
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