Signature Pedagogies in Collaborative Creative Learning in Advanced Music Training, Education and Professional Development: A Meta-Synthesis

被引:4
作者
Creech, Andrea [1 ]
Zhukov, Katie [2 ]
Barrett, Margaret S. [2 ]
机构
[1] McGill Univ, Schulich Sch Mus, Res Dept, Montreal, PQ, Canada
[2] Monash Univ, Sir Zelman Cowen Sch Mus & Performance, Melbourne, Vic, Australia
基金
澳大利亚研究理事会;
关键词
signature pedagogies; collaborative creativity; music; higher education; professional development (PD); CRITIQUE; DESIGN; COMMUNITIES;
D O I
10.3389/feduc.2022.929421
中图分类号
G40 [教育学];
学科分类号
040101 ; 120403 ;
摘要
Recent debates concerned with Western music performance training have grappled with the question of what kind of education and training will best equip music students to navigate an increasingly dynamic and complex professional environment. Increasingly, attention has turned to the role of collaborative creativity and how collaborative, creative skills can be nurtured. Therefore, this paper interrogates the signature pedagogies of collaborative creative learning in advanced music training, education and professional development. Two research questions were addressed: 1) how can creative collaboration in advanced music training, education and professional development be understood through the lens of signature pedagogies; and 2) what are the core values that underpin signature pedagogies of collaborative creativity in advanced music training, education and professional development. A meta-synthesis of relevant qualitative research published since 2000 was carried out. Ten studies were retained. At the implicit level of signature pedagogies of collaborative creativity, three third-order constructs included a commitment to learning as participation in a community of collaborative practice, valuing collaboration in a creative artistic identity, and the capacity to embrace ambiguity. A further three third-order constructs - relational, experiential and creative exploration - comprised the deep level of pedagogical principles. At the surface level, signature pedagogical practices were structured as social and situated, while reflection in, on and for action was at the core of collaborative, creative pedagogical practices.
引用
收藏
页数:16
相关论文
共 53 条
[1]  
[Anonymous], 2000, CREATIVE COLLABORATI
[2]  
Barrett M., 2006, Psychology of Music, V34, P195, DOI DOI 10.1177/0305735606061852
[3]  
Barrett M.S., 2007, Psychology of Music, V35, P213, DOI DOI 10.1177/0305735607070305
[4]   Creative Collaboration and Collaborative Creativity: A Systematic Literature Review [J].
Barrett, Margaret S. ;
Creech, Andrea ;
Zhukov, Katie .
FRONTIERS IN PSYCHOLOGY, 2021, 12
[5]  
Barrett MS, 2014, SEMPRE STUD PSYCHOL, P1
[6]   Online composition: strategies and processes during collaborative electroacoustic composition [J].
Biasutti, Michele ;
Concina, Eleonora .
BRITISH JOURNAL OF MUSIC EDUCATION, 2021, 38 (01) :58-73
[7]   Inside the collaborative inter-arts improvisatory process: Tertiary music students' perspectives [J].
Blom, Diana .
PSYCHOLOGY OF MUSIC, 2012, 40 (06) :720-737
[8]   Jamming and learning: analysing changing collective practice of changing participation [J].
Brinck, Lars .
MUSIC EDUCATION RESEARCH, 2017, 19 (02) :214-225
[9]   Qualitative synthesis: A guide to conducting a meta-ethnography [J].
Cahill, Mairead ;
Robinson, Katie ;
Pettigrew, Judith ;
Galvin, Rose ;
Stanley, Mandy .
BRITISH JOURNAL OF OCCUPATIONAL THERAPY, 2018, 81 (03) :129-137
[10]   Connecting the Space between Design and Research: Explorations in participatory research supervision [J].
Caldwell, Glenda Amayo ;
Osborne, Lindy ;
Mewburn, Inger ;
Nottingham, Anitra .
EDUCATIONAL PHILOSOPHY AND THEORY, 2016, 48 (13) :1352-1367