- Department of Curriculum & Pedagogy
The University of British Columbia
2125 Main Mall, Vancouver, BC V6T1Z4
Peter Gouzouasis
University of British Columbia, Curriculum & Pedagogy, Department Member
- Music Education, Music and Media, Music Technology, Sociology of Music, Education, Arts-based methodologies, and 16 moreArts-Based Educational Research, Guitar, Guitar Pedagogy, Early childhood music, movement, singing, dance, musical brain development, play, musical exploration, Early Childhood Education, Educational Technology, Web 2.0, A/r/tography, Autoethnography, Digital Media & Learning, Digital Media And New Literacies, Arts-Based Research, Jazz Studies And New Media, Arts Education and Pedagogy, Creative Analytical Practices, and Qualitative methodologyedit
- Much of the research of Peter Gouzouasis over the past 30+ years has focused on Arts learning, teaching, and making. ... moreMuch of the research of Peter Gouzouasis over the past 30+ years has focused on Arts learning, teaching, and making. He studied traditional classroom learning, alternative forms of learning, socio-emotional and motivational aspects of the Arts in learning, the role of the Arts in academic achievement, informal-unstructured learning, and the roles of digital technologies in Arts learning. He is one of the few researchers to have successfully applied quantitative (quasi-experimental, correlation, and descriptive) and qualitative (action research, narrative, autobiography, ethnography, autoethnography, ethnodrama, poetic representation) research methods in the study of Arts teaching and learning. Peter’s array of presentations and publications that implement those methods flow through three themes that are central to his interconnected understanding of (1) teaching and learning in a variety of music making contexts (including traditional and digital media and technologies), (2) developing an understanding of learning and teaching in and through the Arts and in the general pre K-12 curriculum using ABER methods, creative pedagogies, and digital technologies, and (3) a relational, developmental perspective (Relational Developmental Systems, RDS) of lifelong learning that entails Positive Youth Development (PYD).edit
The authors engage in an evocative autoethnography1 as they live through the different ways they both grieve and mourn the death of a well-loved friend, colleague, and professor. They share how they navigate the grieving process of death... more
The authors engage in an evocative autoethnography1 as they live through the different ways they both grieve and mourn the death of a well-loved friend, colleague, and professor. They share how they navigate the grieving process of death and dying through their cultural traditions.2 Sharing personal stories can be therapeutic to make sense of ourselves and our experiences3 as writing the autoethnography “must always be interventionist, as it gives notice to those who may otherwise not be allowed to tell their story or who are denied a voice to speak.”4 In the end, the authors use autoethnography to live through the grief as it grounds them with a deeper and healthy understanding about the personal and cultural influences shaping bereavement5 as they cope with the death in their own cultural ways.
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In reading the research available on the topic of teacher-student relationships in learning, it is evident that over the past four centuries very little has changed in traditional, individual music lessons. Through an exploration of the... more
In reading the research available on the topic of teacher-student relationships in learning, it is evident that over the past four centuries very little has changed in traditional, individual music lessons. Through an exploration of the research literature, we came to realize that it is difficult to describe the socioemotional aspects of learning using traditional research methods, and there are many aspects of learning that are beyond explanation in quantitative, realist-styled studies of the efficacy of learning techniques, learning outcomes, evaluation, motivation, literacy, and technical competency. While we began with our inquiry with an interest in studying traditional piano pedagogy, a complex journey led us to using autoethnography as a way to share and demystify a taboo story from the piano studio that extends beyond music learning. Ours is a sensitive story to tell, and the risks involved in discussing this topic in pedagogical contexts have kept many learners silenced for...
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Research Interests: Sociology and Psychology
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This chapter, written creatively as a scripted conversation between a professor and a doctoral student, asks how researchers might study music-making in a plethora of community music settings using arts-based methods. On the surface,... more
This chapter, written creatively as a scripted conversation between a professor and a doctoral student, asks how researchers might study music-making in a plethora of community music settings using arts-based methods. On the surface, arts-based educational research (ABER), art-based research (ABR), creative analytical practices (CAP), and arts inquiry (AI), may seem one and the same, but there are distinctive historical and theoretical nuances between them. We crafted this composition in a reflexive manner with theory and research embedded in the scripted conversation to explore these nuances. We point towards the conclusion that music communities, where participants are actively engaged, are well suited to inquiry through methods that include creative ways of representing and understanding both music and learning. In a conversational way, we explore distinctions, contexts, possibilities, problems, and the power of engaging arts-based research in the study of community music-making.
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In the following study we investigate the foundations of an elementary school music atelier grounded in the pedagogies of Célestin Freinet, the Reggio Emilia approach, and the maker movement. Through the construction processes of musical... more
In the following study we investigate the foundations of an elementary school music atelier grounded in the pedagogies of Célestin Freinet, the Reggio Emilia approach, and the maker movement. Through the construction processes of musical marble structures by Grade 1 and Grade 4 students, we examine the strengths and challenges of the pedagogies and practices that scaffold the variety of learning that unfolds in our music atelier—including hands-on, collaborative, experimental, and experiential learning. In doing so we uncover the historical underpinnings of the atelier and come to understand how this unique studio space evokes student-centered experiences that fosters character, agency, and autonomy to take responsibility for one’s own learning. Moreover, we reveal how the elementary school music atelier can support a foundation for in-depth discovery and wonder that empowers children to develop sensitivities to design and artful ways of thinking and learning.
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We examine integrated visual arts and music instruction through creative com- position practices in soundscapes to develop an understanding of what a child learns through arts learning experiences. To present a viable means of... more
We examine integrated visual arts and music instruction through creative com- position practices in soundscapes to develop an understanding of what a child learns through arts learning experiences. To present a viable means of interpreting aesthetic learning experiences, we investigate the learning story (Carr, M., Assessment in Early Childhood Research: Learning Stories, Sage Publications Inc., Thousand Oaks, 2001; Carr, M., & Lee, W., Learning Stories: Constructing Learner Identities in Early Education, SAGE Publications Ltd, Thousand Oaks, 2012; Gouzouasis, P., & Yanko, M., Learning Stories and Reggio Emilia- inspired: Formative Methods of Assessment for the Elementary School Music Classroom, Routledge, Milton, 2018a) as a means of assessment and expand upon this approach by using visual and aural metaphors to examine how they can provide teachers with the necessary tools and practices to compose richly detailed, meaningful storied assessments. We discovered that children are capable and able to engage with descriptive, interpretive, and evaluative aesthetic criti- cisms (Beardsley, M., Aesthetics: Problems in the Philosophy of Criticism, Harcourt, Brace & World, Inc., New York, 1958) and that the sharing of learning stories promotes discussions, understandings, and a celebration of young learners’ meaning making with integrated arts. We postulate the learning story is a viable assessment practice for the aesthetic and artistic merits that emerge as children engage with music and the arts.
Research Interests: Psychology, Music Education, Aesthetics, Teacher Education, Learning and Teaching, and 15 moreEarly Childhood Education, Arts Education, Formative Assessment, Autoethnography, Music Aesthetics, Teacher Training, Aesthetic Education, Curriculum Development, Assessment in the Creative arts disciplines, Arts Education and Pedagogy, Curriculum and Instruction, Educational Assessment, Curriculum and Pedagogy, Learning Stories, and Arts Based Educational Research
There was an amazing multimedia presentation (with Macromedia Director) that went along with this paper at the Teacher Education Conference that was held at UBC in the then newly built Long House in 2002.
Research Interests: Teacher Education, Action Research, History of Education, Learning and Teaching, Teacher Training, and 9 moreTeacher Inquiry, Arts-based methodologies, Music Teacher Education, A/r/tography, Teacher Development, Preservice Teacher Education, Pre Service Teacher Education, K 12 Teacher Professional Development, and Arts Based Educational Research
Curriculum integration often appears complex and when this happens those who are involved with providing professional development or teacher education may be inclined to promote simplistic or solution-oriented approaches to facilitate... more
Curriculum integration often appears complex and when this happens those who are involved with providing professional development or teacher education may be inclined to promote simplistic or solution-oriented approaches to facilitate integration. Many variants of a problem-solution model exist, and programs that encourage teachers to identify a few difficulties and then strategize possible ways to remove those difficulties more than likely minimize the very benefits of an integrative program. In contrast to this, we propose a conceptualization of curriculum integration that is rhizomatic. Supporting and extending the research that integrative arts practices lead to imaginative, flexible, and embodied pedagogical praxis, a rhizomatic integration of the arts values complicated and disruptive possibilities that enliven the imagination toward more socially just ways of living and learning. Integration, when understood as rhizomatic, will enable teachers to better respond to the everyda...
Research Interests: Music Education, Education, Curriculum Design, Critical Pedagogy, Curriculum Studies, and 15 moreArts Education, Collaboration, Pedagogy, Curriculum Theory, Postmodernism, Professional Development, Arts Education and Pedagogy, Arts Integration, Arts Based Research, Curricula, Expeditionary Learning, Counselling, Art Inquiry, Arts Based Educational Research, and Art Teachers
Evocative arts-based educational research that focuses on the tales of educators—i.e., autoethnography as a personal, provocative form of storytelling—has not been well developed as a viable early childhood research approach. We learned... more
Evocative arts-based educational research that focuses on the tales of educators—i.e., autoethnography as a personal, provocative form of storytelling—has not been well developed as a viable early childhood research approach. We learned that teacher-learner stories tell us everything we need to know about feelings and emotions in human experiences. As teachers read their selves in our story, our inquiry may be considered as more than merely a simple tale of one teacher's journey in radically changing his teaching—it is a pedagogical autoethnography. With that in mind, it is imperative for teachers to be mindful of life's stories.
Research Interests: Sociology, Psychology, Music, Music Education, Ethnography, and 11 moreCritical Pedagogy, Autoethnography, Pedagogy, Music Teacher Education, Collaborative Autoethnography, Ethnographic & autoethnographic research, Arts Based Research, Music Teacher Identity, Creative Analytical Practices, Learning Stories, and Arts Based Educational Research
Educational assessment has been characterized as a tactic that colonizes children, in that they are perceived as “subjects” while being considered as “objects” of knowledge production (Andersson & Fejes, 2005, p. 610). That point... more
Educational assessment has been characterized as a tactic that colonizes children, in that they are perceived as “subjects” while being considered as “objects” of knowledge production (Andersson & Fejes, 2005, p. 610). That point of view gives power to formal knowledge as a way of controlling children. Relatedly, Foucault (1991) believes that the act in which teachers embrace the knowledge of regulating students can be seen as the basis of all governance. Extending those ideas in a similar direction, Eisner (1998; 2007) believes that the scientific determination to predict and control learning outcomes is historically linked to the need for effectual assessment. Full chapter available online, see your institution's library or Rutledge for details.
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In the present inquiry, we initially sought to examine how music teacher backgrounds impact their broader curricular and pedagogical decisions. While there has been an increasing call by some scholars for music educators to provide the... more
In the present inquiry, we initially sought to examine how music teacher backgrounds impact their broader curricular and pedagogical decisions. While there has been an increasing call by some scholars for music educators to provide the widest range of musical experiences in schools and community contexts, a potential obstacle to such an appeal may stem from the fact that many teachers may neither musically nor personally identify with a music curriculum and pedagogy that is either culturally responsive or globally informed (Abril 2009; Legette 2003). Moreover, we recognize the unusually wide discrepancy between research and classroom practice in music teaching, as well as in the ways that traditional music education research is written. We posit that for educators to even consider a more inclusive definition of musicianship and musicking (Small 1998), they must first develop an awareness of the ways in which their own musical identities intersect with, affect, and change their teaching. That perspective, and the notion that research needs to be written in more meaningful and accessible ways to reach a wider audience, may make it possible to link the ways that we have traditionally viewed teacher identities with more contemporary ways of doing research with hybrid forms of arts-based action research.
Research Interests: Psychology, Music, Music Education, Autoethnography, Action research (Methodology), and 9 moreSociology of Music, Music Teacher Education, Arts-Based Research, A/r/tography, Arts-Based Educational Research, Performative Inquiry, Artsitic Inquiry, Creative Non-Fiction Techniques in Ethnographic and Historical Writing, and Arts-Based Inquiry
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The following autoethnographic duet by faculty advisor and professor creates a dramatic and evocative account of the personal and cultural experience about a disabled student teacher. They blend storytelling and music which fuses a... more
The following autoethnographic duet by faculty advisor and professor creates a dramatic and evocative account of the personal and cultural experience about a disabled student teacher. They blend storytelling and music which fuses a theoretical analysis about storytelling and life. Although sociocultural issues draw deep reflection about the emotional turmoil, cultural influences of language and social interaction provide details that critique social structures. As musician becoming teacher is a passionate yet complex endeavor, the faculty advisor shares first-hand a poetic but painful story about a disabled teacher being inducted into the teaching profession. By making explicit the personal-cultural connection, they use the life-changing epiphany to critique cultural issues about teaching and disability. As the faculty advisor approaches the professor for advice, his musicianship shifts her forward, backward, and sideways through feelings that evoke, invoke, and provoke a curriculum...
Research Interests: Sociology, Music Education, Teacher Education, Autoethnography, Sociology of Music, and 11 moreQualitative Research (Education), Arts-based methodologies, Music Teacher Education, Collaborative Autoethnography, Qualitative inquiry, Preservice Teacher Education, Education Systems, Preservice Teachers, Arts Based Research, Music Teacher Identity, and Arts Based Educational Research
With the intention of disrupting and re-imagining traditional conference spaces, this article is a poetic compilation developed from a Curriculum Studies conference symposium that took place on a school bus. During the School Bus... more
With the intention of disrupting and re-imagining traditional conference spaces, this article is a poetic compilation developed from a Curriculum Studies conference symposium that took place on a school bus. During the School Bus Symposium, in situ poetry writing and reading, song and storytelling occurred in response to open ended prompts and facilitation of creative activities. After the symposium, a call was issued to invite participants to submit any poetry or stories produced during, or inspired by the session. Consisting of 18 submissions including poetry, story, photography and creative essays, infused by curriculum theory and poetic inquiry, this collection offers an inclusive, reflective, participatory, and experiential rendering where participants are living and journeying poetically. Emphasizing creative engagement with personal memories, the authors collectively aimed to promote art education through imaginative approaches to curriculum studies, poetic inquiry and academ...
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"The purpose of this essay is to illuminate the application of arts-based forms of research in music education research. Since substantial literature supports the core renderings of artography as a mode of scholarly... more
"The purpose of this essay is to illuminate the application of arts-based forms of research in music education research. Since substantial literature supports the core renderings of artography as a mode of scholarly inquiry, arts-based research needs to be recognized as a potential mode of research in music education. My composition becomes one example of how I demonstrate metaphor to be transformative as I write autobiography as method that embraces artography—a hybrid research form that in this essay employs narrative, autoethnography, lyrics, poetry, music, and pedagogical inquiry—as a music research method. This entails moving beyond the existing rules-based disciplines of music and music education, with a shift toward an understanding of the importance of a multidimensional approach to the values and subjectivity of music and music education research. Autobiography enables me to interrogate the changes, or ruptures, that un/fold as writing metaphorically draws me into the complexities of diatonic tonality (modality). Thus, metaphor propels me to fuse autobiography and tonality to “clarify the conditions in which understandings take place” (Gadamer, 1975, p. 263). Overall, I propose arts-based educational research as embodied, living inquiry through metaphor, as I write myself through music and text to reconcile the inherent complications of legitimizing arts-based research in music education contexts. You'll need to have an internet connection and access to Vimeo to experience to total impact of this paper. There are nicely stylized links in the paper that will take you away from the pdf, but if you keep your browser open while you're reading, it works rather smoothly. All the music was recorded in my home studio, some tracks with the help of David Murphy, using Logic and various guitars and equipment (info available upon request)."
Research Interests: Psychology, Music, Music Education, Action Research, Educational Research, and 12 moreArts Education, Autoethnography, Digital Culture, Autobiography, Digital Arts, Memoir and Autobiography, Autobiographical Self-Representation, A/r/tography, Arts Based Research, Digital Story Telling, Artist academics, and Arts Based Educational Research
Abstract Kathryn Ricketts is a doctoral student donning an oversized overcoat and hat and carrying a suitcase heavy with the weight of borrowed stories she tells through a methodology called a/r/tography. This paper serves as a living... more
Abstract Kathryn Ricketts is a doctoral student donning an oversized overcoat and hat and carrying a suitcase heavy with the weight of borrowed stories she tells through a methodology called a/r/tography. This paper serves as a living document of the years she has spent with the core members of the a/r/tographic team: Rita Irwin, Carl Leggo, Peter Gouzouasis, and Kit Grauer and marks the continued articulating of a practice informed by the key themes of identity and place. Her work is focused on the telling of stories of displacement through dance and how this telling impacts the agency of those who tell and those who listen. This paper is written from the personal perspective of the artist researcher and also from the perspectives of the a/r/tographic team.
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An experiment is described that involved video conferencing technology with preschool children in a music instruction context. Video conferencing is a powerful communications medium, and may be used in creative interactive contexts. The... more
An experiment is described that involved video conferencing technology with preschool children in a music instruction context. Video conferencing is a powerful communications medium, and may be used in creative interactive contexts. The subjects were children, ages 3 through 5, participating in video conferences from Australia and Canada, eight at each conference site. A detailed discussion of rehearsal procedures, technical broadcast information, instruction techniques, evaluation of instructional efficacy with objective tools, and interpretations of the data are provided. Whereas children's television programming, especially in a music context, is essentially non-interactive, video conferencing provides educators a viable, interactive audio-video medium to deliver instruction in a variety of subject areas. (Author)
Research Interests: Computer Science, Music Education, Instructional Design, Educational Technology, Music Technology, and 15 moreDistance Education, Digital Media, Multimedia, Instructional Technology, Digital Media And New Literacies, Music Technology in Music Education, Online Learning, Technology In Music Education, Distance Learning, Preschool Education, Teaching Methods, Early years music education, Early Years Music, Digital Media Learning, and Communications
This article forms a portion ofthe dialogic relation-ship between a female doctoral student and her male graduate supervisor. The dialogue surrounds the doctoral dissertation entitled, "Musicians Becoming MusicEducators: An... more
This article forms a portion ofthe dialogic relation-ship between a female doctoral student and her male graduate supervisor. The dialogue surrounds the doctoral dissertation entitled, "Musicians Becoming MusicEducators: An Intersection ofldentities." The narrative dissertation explores literary study, arts-based research, and feminist based literature. Karen Lee investigates the nature of musicians' lives during practicum, university, and school based contexts, as well as the nature of institutional education, societal issues influencing musicianship, the conflicts of love, issues of loss, the paradoxes of musicians becoming music teachers, the power of writing as a form of inquiry, and the experiences of a woman writer.
Research Interests: Psychology, Music Education, Teacher Education, Sociology of Music, Arts-based methodologies, and 8 morePhilosophy of Music Education, A/r/tography, Teacher Education Quarterly, Professional Learning, Pre Service Teacher Education, Arts Based Research, Professional Teacher Identities, and Arts Based Educational Research
Our inquiry centres on a hopeful tale about creative teaching and learning, trusting one's teaching intuition and processes, caring for children, and believing that children will respond to opportunities to learn music when they are... more
Our inquiry centres on a hopeful tale about creative teaching and learning, trusting one's teaching intuition and processes, caring for children, and believing that children will respond to opportunities to learn music when they are invited with thoughtful care. Though the process of writing, both our young student and ourselves, we evoke the notion of autoethnography as pedagogy. By considering autoethnography as creative, didactic non-fiction, our essay sings out with a call for transformation in how we engage with children in teaching and learning piano – on how we engage in a ‘listening pedagogy’ to transform piano teaching and learning into a much more expressive, meaningful, playful and positive learning experience. Our inquiry also includes a discussion of early childhood music research and different forms of pedagogy, presented in a holistic way that invites new understandings of the relationships between early childhood music practitioners and young music learners.
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Research Interests: Music, Music Education, Literacy, Participatory Action Research, Arts Education, and 15 moreLanguage Development, Arts, Cultural Diversity, Arts Education and Pedagogy, Multimodal learning, Numeracy, Correlation, Academic achievement, British Columbia, Cognitive Ability, Curriculum and Pedagogy, Linear Regression, Intelligence quotient, Creative Arts In Education, and Etc In Children In Educational Settings
This autoethnographic duet is an artful inquiry about the tragedy of a beginning music teacher. A painful story about a music teacher and sexual allegations from an adolescent female, our composition blends music and story to transform... more
This autoethnographic duet is an artful inquiry about the tragedy of a beginning music teacher. A painful story about a music teacher and sexual allegations from an adolescent female, our composition blends music and story to transform understandings through creative engagement and push the boundaries to evoke visceral and emotional responses regarding suicide. Sociocultural issues draw deep re ection about wider political issues that arise for teachers who display di culties with moral issues and misguided choices. The epiphany-epiphony (Gouzouasis, 2013) through story and music reveals the cultural irony of ideology and secrecy in professional misconduct. Unfortunately, in this circumstance, the outcome was catastrophic.
Research Interests: Sociology, Music Education, Autoethnography, Qualitative Research (Education), Music Teacher Education, and 9 moreCollaborative Ethnography, Performative Writing, Performative Action Research, Arts Based Research, Curriculum and Pedagogy, Music Teacher Identity, Pedagogy for Music Teaching, Learning Landscapes, and Arts Based Educational Research
We write this paper as free association, but we conceptualize it more so as a musical improvisation – not completely ‘free’ improvisation, but structured by the ‘harmonic progression’ of ideas that Pinar (1975) provided with currere. In a... more
We write this paper as free association, but we conceptualize it more so as a musical improvisation – not completely ‘free’ improvisation, but structured by the ‘harmonic progression’ of ideas that Pinar (1975) provided with currere. In a metaphorical sense, we follow his thought progression as we would follow a chord progression. To demonstrate the spatiotemporal resonance of Pinar’s notion of currere, we will (1) draw comparisons between the regressive-progressive-analytic-synthetic features of currere and the enhance-reverse-retrieve-obsolesce lens of McLuhan’s tetrad, and (2) expand notions of the biographical and autobiographical to a re-conceptualized notion of autobiographical and autoethnographical. Out of the dialectic and tetradic processes we hope to arrive, however temporarily, at a synthesis of ideas regarding currere.
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... knowledge (ie, music theory, history, performance and performance practice, aesthetics) and how it informs educational research may be(come) a form of research in and of itself, how music was related to arts-based educational... more
... knowledge (ie, music theory, history, performance and performance practice, aesthetics) and how it informs educational research may be(come) a form of research in and of itself, how music was related to arts-based educational research, and how a/r/tography has evolved as a ...
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Research Interests: Information Technology, Music, Musical Composition, Music Education, Educational Technology, and 15 moreCreativity, Digital Media, Gesture, Multimedia, Embodiment, Bakhtin, Machinima, Dialogism, Art and technology, Elementary Music Education, Elementary Education, Cyborgs, Game Spaces, Curriculum and Pedagogy, and Digital Media Learning
Looked at broadly, much of education is focused on skills training that rarely stimulates students' creativity and critical capacities (Digital Economy Research Team, 2011-2014). In some schools, there are teachers and students who... more
Looked at broadly, much of education is focused on skills training that rarely stimulates students' creativity and critical capacities (Digital Economy Research Team, 2011-2014). In some schools, there are teachers and students who are committed to creativity as a core practice, but these are the exceptions. Schools in general lack the entrepreneurial systems and infrastructure that could transform them into hubs for social innovation. In this symposium, we share our Pan Canadian research that addresses the creativity problem. In six Canadian research sites we have collaborated with teachers and established an ethos of creative practice in their schools. In helping teachers confront the difficulties of implementing creative pedagogy, we outline how a/r/tography and design thinking enable teachers to engage in research while advancing their artistic and analytical practices.
We examine integrated visual arts and music instruction through creative com- position practices in soundscapes to develop an understanding of what a child learns through arts learning experiences. To present a viable means of... more
We examine integrated visual arts and music instruction through creative com- position practices in soundscapes to develop an understanding of what a child learns through arts learning experiences. To present a viable means of interpreting aesthetic learning experiences, we investigate the learning story (Carr, M., Assessment in Early Childhood Research: Learning Stories, Sage Publications Inc., Thousand Oaks, 2001; Carr, M., & Lee, W., Learning Stories: Constructing Learner Identities in Early Education, SAGE Publications Ltd, Thousand Oaks, 2012; Gouzouasis, P., & Yanko, M., Learning Stories and Reggio Emilia- inspired: Formative Methods of Assessment for the Elementary School Music Classroom, Routledge, Milton, 2018a) as a means of assessment and expand upon this approach by using visual and aural metaphors to examine how they can provide teachers with the necessary tools and practices to compose richly detailed, meaningful storied assessments. We discovered that children are capable and able to engage with descriptive, interpretive, and evaluative aesthetic criticisms (Beardsley, 1958) and that the sharing of learning stories promotes discussions, understandings, and a celebration of young learners’ meaning making with integrated arts. We postulate the learning story is a viable assessment practice for the aesthetic and artistic merits that emerge as children engage with music and the arts.
Research Interests: Psychology, Music Education, Aesthetics, Teacher Education, Learning and Teaching, and 15 moreEarly Childhood Education, Arts Education, Formative Assessment, Autoethnography, Music Aesthetics, Teacher Training, Aesthetic Education, Curriculum Development, Assessment in the Creative arts disciplines, Arts Education and Pedagogy, Curriculum and Instruction, Educational Assessment, Curriculum and Pedagogy, Learning Stories, and Arts Based Educational Research
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Educational assessment has been characterized as a tactic that colonizes children, in that they are perceived as “subjects” while being considered as “objects” of knowledge production (Andersson & Fejes, 2005, p. 610). That point of view... more
Educational assessment has been characterized as a tactic that colonizes children, in that they are perceived as “subjects” while being considered as “objects” of knowledge production (Andersson & Fejes, 2005, p. 610). That point of view gives power to formal knowledge as a way of controlling children. Relatedly, Foucault (1991) believes that the act in which teachers embrace the knowledge of regulating students can be seen as the basis of all governance. Extending those ideas in a similar direction, Eisner (1998; 2007) believes that the scientific determination to predict and control learning outcomes is historically linked to the need for effectual assessment. Full chapter available online, see your institution's library or Rutledge for details.
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Abstract Kathryn Ricketts is a doctoral student donning an oversized overcoat and hat and carrying a suitcase heavy with the weight of borrowed stories she tells through a methodology called a/r/tography. This paper serves as a living... more
Abstract Kathryn Ricketts is a doctoral student donning an oversized overcoat and hat and carrying a suitcase heavy with the weight of borrowed stories she tells through a methodology called a/r/tography. This paper serves as a living document of the years she has spent with the core members of the a/r/tographic team: Rita Irwin, Carl Leggo, Peter Gouzouasis, and Kit Grauer and marks the continued articulating of a practice informed by the key themes of identity and place. Her work is focused on the telling of stories of displacement through dance and how this telling impacts the agency of those who tell and those who listen. This paper is written from the personal perspective of the artist researcher and also from the perspectives of the a/r/tographic team.
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In the following study we investigate the foundations of an elementary school music atelier grounded in the pedagogies of Célestin Freinet, the Reggio Emilia approach, and the maker movement. Through the construction processes of musical... more
In the following study we investigate the foundations of an elementary school music atelier grounded in the pedagogies of Célestin Freinet, the Reggio Emilia approach, and the maker movement. Through the construction processes of musical marble structures by Grade 1 and Grade 4 students, we examine the strengths and challenges of the pedagogies and practices that scaffold the variety of learning that unfolds in our music atelier—including hands-on, collaborative, experimental, and experiential learning. In doing so we uncover the historical underpinnings of the atelier and come to understand how this unique studio space evokes student-centered experiences that fosters character, agency, and autonomy to take responsibility for one’s own learning. Moreover, we reveal how the elementary school music atelier can support a foundation for in-depth discovery and wonder that empowers children to develop sensitivities to design and artful ways of thinking and learning.
Yanko, M. & Gouzouasis, P. (2020). Journal of Artistic and Creative Education, 14 (2), 1-14. Dowloaded December 30, 2020 from https://jace.online/index.php/jace/article/view/411
Yanko, M. & Gouzouasis, P. (2020). Journal of Artistic and Creative Education, 14 (2), 1-14. Dowloaded December 30, 2020 from https://jace.online/index.php/jace/article/view/411
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The purpose of this essay is to illuminate the application of arts-based forms of research in music education research. Since substantial literature supports the core renderings of artography as a mode of scholarly inquiry, arts-based... more
The purpose of this essay is to illuminate the application of arts-based forms of research in music education research. Since substantial literature supports the core renderings of artography as a mode of scholarly inquiry, arts-based research needs to be recognized as potential mode of research in music education. My composition becomes one example of how I demonstrate metaphor to be transformative as I write autobiography as method that embraces artography—a hybrid research form that in this essay employs narrative, autoethnography, lyrics, poetry, music, and pedagogical inquiry—as a music research method. This entails moving beyond the existing rules-based disciplines of music and music education, with a shift toward an understanding of the importance of a multidimensional approach to the values and subjectivity of music and music education research. Autobiography enables me to interrogate the changes, or ruptures, that un/fold as writing metaphorically draws me into the complexi...
Early childhood education is a widely accepted term to describe a program aimed at providing all round development for children between ages of 2 and 6 years. It paves the way for effective learning. The child is prepared in all respects... more
Early childhood education is a widely accepted term to describe a program aimed at providing all round development for children between ages of 2 and 6 years. It paves the way for effective learning. The child is prepared in all respects to profit from schooling during this period. Enriched environment is to be provided for the receptive mind of the child.
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The purpose of this inquiry is to examine the potential impact of creative, digital technologies on music pedagogy in the 21st century. In the last decade, digital technologies have fundamentally changed music making, sharing, teaching,... more
The purpose of this inquiry is to examine the potential impact of creative, digital technologies on music pedagogy in the 21st century. In the last decade, digital technologies have fundamentally changed music making, sharing, teaching, and learning and it is rapidly evolving. An unprecedented renaissance of social music making is taking place through the use of musical games, apps, and networked digital tools. Music educators must be current with these emerging trends to stay relevant with youth culture. In our paper, we share the implications these technologies may have for the future of music curriculum and praxis. We express a call for a fundamental rethinking of our basic assumptions about pedagogy and learners, as well as what we as educators view as “valid” musical expression.
"This is a book for teachers, by teachers, from elementary school to university level classrooms. It is about the use of creative instructional strategies in K-12 classroom settings, and the transformations the teachers made in their... more
"This is a book for teachers, by teachers, from elementary school to university level classrooms. It is about the use of creative instructional strategies in K-12 classroom settings, and the transformations the teachers made in their journeys from being traditional practitioners to “becoming pedagogical” in their approaches to teaching and learning across the curriculum.
Over twenty teachers conducted research in their classrooms on the implementation of creative strategies, tactics, graphics organizers, and visual journals in teaching and learning. They have written their inquiries in a narrative style, informed by various forms of arts based educational research. Their research is approachable and usable by other teachers who are interested in becoming reflective-reflexive practitioners. Many of the strategies, tactics, and graphics organizers are described by Barrie Bennett in his widely used textbook, Beyond Monet: The Artful Science of Instructional Intelligence. However, through their journeys of becoming teacher-learner-researchers, many discovered numerous, creative variations of Bennett’s work as it was implemented in their classrooms.
While there are many professional books that provide ideas on collaborative learning and creative teaching approaches, there is very little published research on the efficacy of these concepts in the K-12 classroom. These inquiries provide practical insights into how inspired teachers can conduct research on improving their own practice as well as on greatly improving their students’ learning. Thus, this book has widespread interest for teachers and administrators who seek to implement systemic changes in the ways that teachers teach, and children learn, in the 21st century."
Over twenty teachers conducted research in their classrooms on the implementation of creative strategies, tactics, graphics organizers, and visual journals in teaching and learning. They have written their inquiries in a narrative style, informed by various forms of arts based educational research. Their research is approachable and usable by other teachers who are interested in becoming reflective-reflexive practitioners. Many of the strategies, tactics, and graphics organizers are described by Barrie Bennett in his widely used textbook, Beyond Monet: The Artful Science of Instructional Intelligence. However, through their journeys of becoming teacher-learner-researchers, many discovered numerous, creative variations of Bennett’s work as it was implemented in their classrooms.
While there are many professional books that provide ideas on collaborative learning and creative teaching approaches, there is very little published research on the efficacy of these concepts in the K-12 classroom. These inquiries provide practical insights into how inspired teachers can conduct research on improving their own practice as well as on greatly improving their students’ learning. Thus, this book has widespread interest for teachers and administrators who seek to implement systemic changes in the ways that teachers teach, and children learn, in the 21st century."
Research Interests: Music Education, Reflective Practice, Teacher Education, Action Research, Critical Pedagogy, and 16 moreArts Education, Autoethnography, Pedagogic Identity, Pedagogy, Qualitative Research, Arts Education and Pedagogy, Arts-based methodologies, Classroom Action Research, Philosophy of Music Education, Music Teacher Education, A/r/tography, Narrative Inquiry, Arts-Based Educational Research, Reflective Teaching, English as a Foreign Language (EFL), and English As a Second Language (ESL)
Being with A/r/tography is a collection of essays that explain and exemplify the arts-based research methodology called a/r/tography. Edited by four scholars who are artists, researchers, and teachers (a/r/tographers), this book is a... more
Being with A/r/tography is a collection of essays that explain and exemplify the arts-based research methodology called a/r/tography. Edited by four scholars who are artists, researchers, and teachers (a/r/tographers), this book is a methodology book for practitioners in arts-based educational research. In addition to an introductory essay which contextualizes and theorizes the methodological framework of a/r/tography, the book is divided into three main thematic sections that are integral to a/r/tographical research: (1) self-study and autobiography; (2) communities of a/r/tographic practice; (3) ethics and activism. The book concludes with a consideration of issues related to assessment, validity, and interpretation.
Being with A/r/tography will be an excellent core text in graduate courses that focus on arts-based educational research, as well as a valuable text in pre-service teacher education programs. The book will also be significant for qualitative research courses in all the social sciences and the health sciences, including communication studies, nursing, counseling psychology, and arts therapy.
The book provides a clear and comprehensive introduction to a/r/tography. Even though a/r/tography as a research methodology is relatively new in the scholarly field, Being with A/r/tography spells out how scholarly practitioners who are artists and researchers and teachers have been pursuing this kind of research for a long time.
Being with A/r/tography will be an excellent core text in graduate courses that focus on arts-based educational research, as well as a valuable text in pre-service teacher education programs. The book will also be significant for qualitative research courses in all the social sciences and the health sciences, including communication studies, nursing, counseling psychology, and arts therapy.
The book provides a clear and comprehensive introduction to a/r/tography. Even though a/r/tography as a research methodology is relatively new in the scholarly field, Being with A/r/tography spells out how scholarly practitioners who are artists and researchers and teachers have been pursuing this kind of research for a long time.
Research Interests: Creative Writing, Critical Theory, History, Music Education, Gender Studies, and 20 morePhilosophy, Art History, Literature, Philosophy of Art, Autoethnography, Qualitative Research, Praxial Philosophy of Music Education, Contemporary Poetry, Visual Arts, Arts-based methodologies, Philosophy of Music Education, Arts-Based Research, A/r/tography, Trauma, Arts-Based Educational Research, Oral History Performance, Applied Improvisation, Philosophy and Sociology of Human/animal Relations, Living Inquiry, and Embodied Methodologies
There is no abstract for this book chapter. If you'd like a copy of the complete text, please contact me through email.
Research Interests: Music, Music Education, Performing Arts, Arts Education, Performative Educational Research, and 9 moreGuitar, Arts-Based Research, Arts-Based Educational Research, Poetic Inquiry, Performative Action Research, Visual and Performing Arts, Arts Practice Based Research, Arts Informed Research, and Creative Analytical Practices
Evocative arts-based educational research that focuses on the tales of educators—i.e., autoethnography as a personal, provocative form of storytelling—has not been well developed as a viable early childhood research approach. We learned... more
Evocative arts-based educational research that focuses on the tales of educators—i.e., autoethnography as a personal, provocative form of storytelling—has not been well developed as a viable early childhood research approach. We learned that teacher-learner stories tell us everything we need to know about feelings and emotions in human experiences. As teachers read their selves in our story, our inquiry may be considered as more than merely a simple tale of one teacher's journey in radically changing his teaching—it is a pedagogical autoethnography. With that in mind, it is imperative for teachers to be mindful of life's stories.
Research Interests: Music, Music Education, Ethnography, Critical Pedagogy, Autoethnography, and 10 morePedagogy, Music Teacher Education, Arts-Based Research, Arts-Based Educational Research, Collaborative Autoethnography, Critical pedagogy and critical theory Qualitative research Ethnography, autoethnography Service-learning in teacher education and multicultural education Transnational issues affecting education for immigrant children, Ethnographic & autoethnographic research, Music Teacher Identity, Creative Analytical Practices, and Learning Stories
This chapter is my contribution to the book honoring the work of Laurel Richardson. It's an autobiographical account of my journey of becoming a 'gate opener' and giving myself the 'permission' to write interpretive qualitative research.... more
This chapter is my contribution to the book honoring the work of Laurel Richardson. It's an autobiographical account of my journey of becoming a 'gate opener' and giving myself the 'permission' to write interpretive qualitative research. You may contact me via my email if you'd like an excerpt.
Research Interests: Music, Music Education, Qualitative methodology, Autoethnography, Autobiography, and 8 moreSociology of Music, Qualitative Research, Qualitative Research (Education), Qualitative Research Methods, Music Teacher Education, Autobiography and life writing studies, Sociology of Music Education, and Living Inquiry
Research Interests:
Research Interests:
The story as it reads in this nice, however, the presentations, with images, music, and live performances--in various permutations--were truly beautiful and heartful in so many ways.
Research Interests: Creative Writing, Critical Theory, History, Gender Studies, Philosophy, and 11 moreArt History, Literature, Qualitative methodology, Arts Education, Contemporary Poetry, Visual Arts, Arts-Based Research, Arts-Based Educational Research, Sprituality, Qaulitative Research, and Philosophy and Sociology of Human/animal Relations
Research Interests:
This is the preface to a book for teachers, by teachers, from elementary school to university level classrooms. It is about the use of creative instructional strategies in K-12 classroom settings, and the transformations the teachers made... more
This is the preface to a book for teachers, by teachers, from elementary school to university level classrooms. It is about the use of creative instructional strategies in K-12 classroom settings, and the transformations the teachers made in their journeys from being traditional practitioners to “becoming pedagogical” in their approaches to teaching and learning across the curriculum.
Over twenty teachers conducted research in their classrooms on the implementation of creative strategies, tactics, graphics organizers, and visual journals in teaching and learning. They have written their inquiries in a narrative style, informed by various forms of arts based educational research. Their research is approachable and usable by other teachers who are interested in becoming reflective-reflexive practitioners. Many of the strategies, tactics, and graphics organizers are described by Barrie Bennett in his widely used textbook, Beyond Monet: The Artful Science of Instructional Intelligence. However, through their journeys of becoming teacher-learner-researchers, many discovered numerous, creative variations of Bennett’s work as it was implemented in their classrooms.
While there are many professional books that provide ideas on collaborative learning and creative teaching approaches, there is very little published research on the efficacy of these concepts in the K-12 classroom. These inquiries provide practical insights into how inspired teachers can conduct research on improving their own practice as well as on greatly improving their students’ learning. Thus, this book has widespread interest for teachers and administrators who seek to implement systemic changes in the ways that teachers teach, and children learn, in the 21st century.
Over twenty teachers conducted research in their classrooms on the implementation of creative strategies, tactics, graphics organizers, and visual journals in teaching and learning. They have written their inquiries in a narrative style, informed by various forms of arts based educational research. Their research is approachable and usable by other teachers who are interested in becoming reflective-reflexive practitioners. Many of the strategies, tactics, and graphics organizers are described by Barrie Bennett in his widely used textbook, Beyond Monet: The Artful Science of Instructional Intelligence. However, through their journeys of becoming teacher-learner-researchers, many discovered numerous, creative variations of Bennett’s work as it was implemented in their classrooms.
While there are many professional books that provide ideas on collaborative learning and creative teaching approaches, there is very little published research on the efficacy of these concepts in the K-12 classroom. These inquiries provide practical insights into how inspired teachers can conduct research on improving their own practice as well as on greatly improving their students’ learning. Thus, this book has widespread interest for teachers and administrators who seek to implement systemic changes in the ways that teachers teach, and children learn, in the 21st century.
Research Interests: Music Education, Teacher Education, Critical Pedagogy, Pedagogy, Qualitative Research, and 10 moreArts Education and Pedagogy, Arts-based methodologies, Classroom Action Research, A/r/tography, Arts-Based Educational Research, Reflective Teaching, English as a Foreign Language (EFL), Music Pedagogy - particularly instrumental teaching in post-compulsory education., Action reseach, and English As a Second Language (ESL)
Research Interests:
This story was written in 2002-2003 after Karen Lee and I composed and published "Do you hear what I hear?" We had decided to move away from the notion of how music form can (in)form arts based research and how arts based research can... more
This story was written in 2002-2003 after Karen Lee and I composed and published "Do you hear what I hear?" We had decided to move away from the notion of how music form can (in)form arts based research and how arts based research can (in)form music.
It's an ongoing story (written through a number of publications) of a female doctoral student leading her advisor--and teaching him--about new ways of thinking, knowing and writing.
So, this is not a fugue or ternary form. It is an epistemological story. Given the content, there was no way it was going to be published in a 'music education research journal' so we waited to see if a publication opportunity would come to us. GAry Knowles was a visiting professor in the summer of 2004 at UBC. He liked our work and thought it fit with his notion of 'scholartistry,' and we were invited to consider it as a book chapter. We performed the story at AERA In 2005 in Montreal. For whatever reasons, it wasn't published until late 2007, early 2008 and is very difficult to find.
SInce my recent return from RIME 2013 in Exeter, where it seems that some people are beginning to 'discover' new ways of doing research in music education (e.g., ABER), I think this composition needs to be added to the 'history' of progressive music education research.
It is written with a hybrid methodology--narrative, poetic representation, ethnodrama, creative non-fiction, music representation--which leads me to 'categorize' it as scholartistry or a/r/tography.
And I'm trying to get Karen V. Lee to build her Academia site while she's out on practicum supervising new music teachers.
It's an ongoing story (written through a number of publications) of a female doctoral student leading her advisor--and teaching him--about new ways of thinking, knowing and writing.
So, this is not a fugue or ternary form. It is an epistemological story. Given the content, there was no way it was going to be published in a 'music education research journal' so we waited to see if a publication opportunity would come to us. GAry Knowles was a visiting professor in the summer of 2004 at UBC. He liked our work and thought it fit with his notion of 'scholartistry,' and we were invited to consider it as a book chapter. We performed the story at AERA In 2005 in Montreal. For whatever reasons, it wasn't published until late 2007, early 2008 and is very difficult to find.
SInce my recent return from RIME 2013 in Exeter, where it seems that some people are beginning to 'discover' new ways of doing research in music education (e.g., ABER), I think this composition needs to be added to the 'history' of progressive music education research.
It is written with a hybrid methodology--narrative, poetic representation, ethnodrama, creative non-fiction, music representation--which leads me to 'categorize' it as scholartistry or a/r/tography.
And I'm trying to get Karen V. Lee to build her Academia site while she's out on practicum supervising new music teachers.
Research Interests:
Research Interests: Music Education, Education, Instructional Design, Educational Technology, Music Technology, and 15 moreE-learning, Arts Education, Instructional Technology, Digital Media & Learning, Music Technology in Music Education, Online Learning, Technology In Music Education, Digital Arts, Elementary Music Education, Distance Learning, Arts-Based Research, Technology-enhanced Learning, Arts-Based Educational Research, Hybrid Learning, and Digital Story Telling
There was an amazing multimedia presentation (with Macromedia Director) that went along with this paper at the Teacher Education Conference that was held at UBC in the then newly built Long House in 2002.
Research Interests: Teacher Education, Action Research, History of Education, Learning and Teaching, Teacher Training, and 9 moreArts-based methodologies, Music Teacher Education, A/r/tography, Teacher Development, Arts-Based Educational Research, Teacher Preparation, Induction, and Mentoring, Preservice Teacher Education, Pre Service Teacher Education, and K 12 Teacher Professional Development
This essay has stood the test of time as an Innis-McLuhan influenced paper on music as a medium and forms a nice bridge between the papers I wrote in the 1990s and the papers I continue to write on music media in the 21st century.
Research Interests: Music Education, New Media, Educational Technology, Music Technology, Popular Music, and 16 moreDigital Media, Music and Media, Sociology of Music, Facebook, Music Technology in Music Education, Technology In Music Education, Online Journalism, Marshall McLuhan, Google, Youtube, Digital Marketing, Digital Story Telling, Iphones, Paywalls, Virtual Revolution, and Sociology of Music Education
"We offer a multi-voiced response to the (re)creation of a sociology of music education, where contemporary music education practices are informed and imbued with the voices of teachers and learners. By dialogically and musically engaging... more
"We offer a multi-voiced response to the (re)creation of a sociology of music education, where contemporary music education practices are informed and imbued with the voices of teachers and learners. By dialogically and musically engaging with the very people who live, make music, and engage with learners in music classrooms, we are pointing toward promoting contemporary qualitative forms of research and the (re)conception of a sociology of music education as a political and an ethical construction that needs to be grounded in serving the communities of music practitioners.
Through a pedagogical story – told from the perspectives of music teachers using their own voices – we begin an open conversation about the nature of power structures and struggles in music education research, and invite new possibilities in developing understandings of the complex socio-cultural dynamic of music making, music learning, music teaching, and music researching in all facets of contemporary society. By embracing a broader set of traditions (i.e., Arts-Based Educational Research, Creative Analytical Practices) that enable us to go beyond socio-cultural frameworks and orthodox beliefs that currently exist in the music education profession, we seek to (re)form a culturally contextualized, ethos-rooted, sociology of music education. For this reason, our inquiry invites readers to consider the importance of including teachers as dialogic partners in writing and presenting music education research. We encourage and invite music makers and educators to use their own words and experiences toward self-expression and empowerment in writing research. In this paper, we begin to develop a teacher and learner centered sociosophy of music education, and evoke this new form of music education research as an alternative, creative pathway to expanding knowledge in the preparation of reflective-reflexive music teachers and music education researchers. "
Through a pedagogical story – told from the perspectives of music teachers using their own voices – we begin an open conversation about the nature of power structures and struggles in music education research, and invite new possibilities in developing understandings of the complex socio-cultural dynamic of music making, music learning, music teaching, and music researching in all facets of contemporary society. By embracing a broader set of traditions (i.e., Arts-Based Educational Research, Creative Analytical Practices) that enable us to go beyond socio-cultural frameworks and orthodox beliefs that currently exist in the music education profession, we seek to (re)form a culturally contextualized, ethos-rooted, sociology of music education. For this reason, our inquiry invites readers to consider the importance of including teachers as dialogic partners in writing and presenting music education research. We encourage and invite music makers and educators to use their own words and experiences toward self-expression and empowerment in writing research. In this paper, we begin to develop a teacher and learner centered sociosophy of music education, and evoke this new form of music education research as an alternative, creative pathway to expanding knowledge in the preparation of reflective-reflexive music teachers and music education researchers. "
Research Interests: Music, Music Education, Adult Education, Teacher Education, Participatory Action Research, and 12 moreAction Research, Higher Education, Educational Research, Arts Education, Autoethnography, Teacher Research, Narrative Methods, Sociology of Music, A/r/tography, Arts-Based Educational Research, Duoethnograpy, and Creative Analytical Practices
"My inquiry will focus on an attempt to locate an ethos of music education. Because I acknowledge that the ethos of a society must logically precede a study of ethics (Ryan, 1972, p. 291, Miller, 1974, p. 309), and given the dramatic... more
"My inquiry will focus on an attempt to locate an ethos of music education. Because I acknowledge that the ethos of a society must logically precede a study of ethics (Ryan, 1972, p. 291, Miller, 1974, p. 309), and given the dramatic changes over the past 30 years in the ways that we create, record, store, access, and perform music, much of my exploration will be positioned in an examination of music and new digital media in the 21st century and how it is used by countless adolescents. Thus, in the development of my line of rhetoric I will (1) begin with basic Aristotelian (1984, 1999) notions of art making, artistic activity, and ethos, (2) discuss the relationship between téchne and technology, and (3) téchne and logo, (4) briefly describe the phenomenon of music making in the digitally enriched 21st century, (5) attempt to discover an ethos of music and music education in the 21st century, and (6) based on the possible discovery of an ethos, determine the ethical outcomes regarding curriculum and pedagogy in music education.
I argue that that the profession has not been responsible in the ways that we have constructed an ethos—any notion of ethos—over the past 80 years, in music education textbooks, music curricula, research, and position documents, and in the ways that we (re)present reasons for why music belongs in the schools. Our profession seems to be grasping at straws in our advocacy for ‘justification’ and ‘academic positioning,’ while we may merely need to identify the individuals and communities of people whose lives have been changed by their experiences with music and enlist them to help us (re)define and refine our role not only in education but in society. At best, we may have an ethos that is antiquated and not related to 21st century youth, and most catastrophically, no sensibility regarding the music identity of the majority of youth in digitally enabled nations. It seems that we possess no center, no unified voice, no sense of music of the 21st century, and no sense of “knowing our market” (see Rideout et al, 2010). We need to (re)elaborate what is perceived as ‘music activity,’ in and out of schools and in structured and unstructured learning situations (Gouzouasis & Bakan, 2011). Moreover, we are not speaking to the very people who can understand the need for music education in the schools—the youth of today, who will become the creators and consumers of music and policy makers of tomorrow. Thus, this paper questions how we can create an ethos of music education for our profession without including the individuals who are being ‘educated’ by our notions of music education—our youth themselves.
"
I argue that that the profession has not been responsible in the ways that we have constructed an ethos—any notion of ethos—over the past 80 years, in music education textbooks, music curricula, research, and position documents, and in the ways that we (re)present reasons for why music belongs in the schools. Our profession seems to be grasping at straws in our advocacy for ‘justification’ and ‘academic positioning,’ while we may merely need to identify the individuals and communities of people whose lives have been changed by their experiences with music and enlist them to help us (re)define and refine our role not only in education but in society. At best, we may have an ethos that is antiquated and not related to 21st century youth, and most catastrophically, no sensibility regarding the music identity of the majority of youth in digitally enabled nations. It seems that we possess no center, no unified voice, no sense of music of the 21st century, and no sense of “knowing our market” (see Rideout et al, 2010). We need to (re)elaborate what is perceived as ‘music activity,’ in and out of schools and in structured and unstructured learning situations (Gouzouasis & Bakan, 2011). Moreover, we are not speaking to the very people who can understand the need for music education in the schools—the youth of today, who will become the creators and consumers of music and policy makers of tomorrow. Thus, this paper questions how we can create an ethos of music education for our profession without including the individuals who are being ‘educated’ by our notions of music education—our youth themselves.
"
Research Interests: Music, Music Education, New Media, Music Technology, Aristotle, and 30 morePsychotherapy, Digital Media, Gesture, Multimedia, Poetry, Embodiment, Reflexivity, Philosophy of Art, Narrative and Design, Bakhtin, Systemic Therapy, Sound, Machinima, Performance, Reading, Writing, Postmodernism, Music Technology in Music Education, Dialogism, Art and technology, Virtual Worlds, Aristotle's Ethics, Arts-Based Research, Teaching, Arts-Based Educational Research, Qualitative inquiry, Cyborgs, Game Spaces, Spatial Story Telling, and Counselling
This is an example of a workshop that I delivered at Beijing Normal University in June 2011 that I hope will give people an idea of the breadth of ideas, repertoire (curriculum), creative pedagogy, and research that I bring to the... more
This is an example of a workshop that I delivered at Beijing Normal University in June 2011 that I hope will give people an idea of the breadth of ideas, repertoire (curriculum), creative pedagogy, and research that I bring to the enterprise of early childhood music education.
I am not a 'One Trick Pony' (to quote singer-songwriter Paul Simon) and consider my perspectives to be informed by practice and research in music learning that goes back to the works of Jersild & Bienstock in the 1920s, includes Moorhead & Pond, Andress, Boswell, Cass-Beggs, Birkenshaw, Gordon and many others.
There are lecture notes and movie clips of my working with young children that are interspersed in this 3 hour presentation-workshop as well as another 3 hour session that refers heavily to research over the past 40 years.
I am available for workshops and lectures on this topic and can insure you that I provide informative, fun, music filled sessions for pre-service and in-service teachers and researchers.
I am not a 'One Trick Pony' (to quote singer-songwriter Paul Simon) and consider my perspectives to be informed by practice and research in music learning that goes back to the works of Jersild & Bienstock in the 1920s, includes Moorhead & Pond, Andress, Boswell, Cass-Beggs, Birkenshaw, Gordon and many others.
There are lecture notes and movie clips of my working with young children that are interspersed in this 3 hour presentation-workshop as well as another 3 hour session that refers heavily to research over the past 40 years.
I am available for workshops and lectures on this topic and can insure you that I provide informative, fun, music filled sessions for pre-service and in-service teachers and researchers.
Research Interests: Music Education, Play, Early Childhood Education, Early Childhood Music Education, Early years music education, and 6 moreEarly Years Music, Early Childhood Curriculum, Early childhood music, movement, singing, dance, musical brain development, play, musical exploration, Social Emotional Learning, Play and Creativity in the Curriculum, and Peer Groups and Their Influence Upon the Learning of Young Children
This presentation and paper explores the significance of a/r/tography in educational inquiry and practice and is set to Vivaldi's Four Seasons. My segment is 'Summer' and is an extension of the artography paper from 2006 that is posted on... more
This presentation and paper explores the significance of a/r/tography in educational inquiry and practice and is set to Vivaldi's Four Seasons. My segment is 'Summer' and is an extension of the artography paper from 2006 that is posted on the URL cited above. The entire score of 'Summer' was re-orchestrated in MIDI with bouzoukees, marimbas, xylophones, and other idiophones. The middle movement features me playing the solo violin part on my 2005 Peavey Eddie Van Halen Wolfgang Custom Shop Special guitar through a Mesa Boogie Mark 4 amp. It is an intentional 'disruption' in the artographic sense of the word. All the slides were taken in the summer of 1980 when I lived in Greece for 5 months. The narration is essentially an abstract of the essay from The Arts & Learning Journal (2006) essay, "Artogaphy in music research: A reunification of musician, researcher and teacher." The focus of the narrative is Aristotelean notions of praxis.
Research Interests: Music, Music Education, New Media, Music Technology, Digital Media, and 26 moreGesture, Multimedia, Poetry, Embodiment, Performance Art, Narrative and Design, Autoethnography, Bakhtin, Sound, Machinima, Performance, Reading, Pedagogy, Philosophy of Music, Dialogism, Art and technology, Virtual Worlds, Arts Education and Pedagogy, Arts-based methodologies, A/r/tography, Arts-Based Educational Research, Collaborative Autoethnography, Cyborgs, Game Spaces, Artist academics, and Spatial Story Telling
This paper is the first research on teaching guitar on the Internet. Bryan Green and I worked with Murray Goldberg, designer and lead programmer of WebCT, to make my guitar method, The Interactive Guitar, the first fully interactive... more
This paper is the first research on teaching guitar on the Internet. Bryan Green and I worked with Murray Goldberg, designer and lead programmer of WebCT, to make my guitar method, The Interactive Guitar, the first fully interactive guitar teaching approach on the Internet in 1997. It was created with Macromedia Director and uploaded using 'Shockwave' technology. talk about 'old school' :-) I'm going to upload the paper later this week, one way or another because I think people need to know what this project was all about. Interested persons can find Bryan Green's dissertation (he was my advisee) on UBC's www site.
Research Interests:
I am humbled to be working, as Principal Investigator and author, on a recently awarded Social Sciences and Humanities Research Council of Canada (SSHRC) 2013-2016 grant ($230,000) to study how, where, when, and what youth are learning in... more
I am humbled to be working, as Principal Investigator and author, on a recently awarded Social Sciences and Humanities Research Council of Canada (SSHRC) 2013-2016 grant ($230,000) to study how, where, when, and what youth are learning in alternative music programs, with and without digital media.
This project was conceptualized in Summer 2011, and submitted in October 2011. Scott Goble, Rita Irwin, and Martin Guhn are my principal Co-Investigators, and Karen Lee a collaborator, at UBC.
Those of you you who have been reading my written work of the past 24 years (and who know my work with teachers and children in schools) can see how it has all come together. We can all discuss ways to secure more funding around the same topic and collaborations in other countries if you have legitimate funding sources. The time is right for this topic to be explored in this manner.
This project was conceptualized in Summer 2011, and submitted in October 2011. Scott Goble, Rita Irwin, and Martin Guhn are my principal Co-Investigators, and Karen Lee a collaborator, at UBC.
Those of you you who have been reading my written work of the past 24 years (and who know my work with teachers and children in schools) can see how it has all come together. We can all discuss ways to secure more funding around the same topic and collaborations in other countries if you have legitimate funding sources. The time is right for this topic to be explored in this manner.
Research Interests:
With the intention of disrupting and re-imagining traditional conference spaces, this article is a poetic compilation developed from a curriculum studies conference symposium that took place on a school bus. During the School Bus... more
With the intention of disrupting and re-imagining traditional conference spaces, this article is a poetic compilation developed from a curriculum studies conference symposium that took place on a school bus. During the School Bus Symposium, in situ poetry writing and reading, song and storytelling occurred in response to open ended prompts and facilitation of creative activities. After the symposium, a call was 1 Biographical statement: The School Bus Symposium was initially imagined by Sean Wiebe and Pamela
Research Interests:
This was a paper I wrote for Professor David Goldstein, my developmental psychology doctoral seminar (PSYCH 837) at Temple University. At the time it was influenced by my coursework in phonology and my MA thesis (which can be found... more
This was a paper I wrote for Professor David Goldstein, my developmental psychology doctoral seminar (PSYCH 837) at Temple University. At the time it was influenced by my coursework in phonology and my MA thesis (which can be found floating around the Internet somewhere; ideas from it were published in my early writings on early childhood music education). This ideas preceded those that were being developed by Edwin Gordon and other doctoral students (e.g., Levinowitz, Taggart) who were not yet working with very young children at that time at the Temple University Music Prep program in downtown Philadelphia (the old KYW owned buildings/studios on Walnut Street that were donated to Temple in the late 1970s). I gave my advisor, Dr. Gordon, a copy of this paper in December 1985 and after a few conversations around how I was implementing this work -- along with notions of singing songs without words to tap into CV and CV combinations -- it's obvious that this paper and my MA thesis (which was actually competed in early 1986 but stalled for over 1 year by a narcissistic Assistant Professor who wanted to play politics with my career) influenced Gordon's 'music learning theory' form 1985 onwards. The notion of singing songs without words and accompaniment that became a formal practice of MLT practitioners was also influenced by my MA thesis work which looked at levels of different types of accompaniment on the development of social skills of 5 year old children. This paper was also disseminated ad discussed in doctoral seminars at Temple University in 1985/1986. So, like many ideas that are attributed to Gordon as part of MLT (e.g., beat function syllables, which were actually developed by Froseth and Schleuter, and Gordon) the ideas were not Gordon's alone. This, and other ideas (find the ERIC document of an incomplete draft of a book on early childhood music education that Levinowitz was developing with Gordon) have interesting backgrounds in the development of "Gordon's Music Learning Theory."