Postgraduate Research In Music

"Postgraduate Research in Music: A Step-by-Step Guide to Writing a Thesis is an essential text for music students who are undertaking postgraduate research. Unique in its approach and scope, this is a "how to" book, a practical guide whose aims are fourfold: to equip students with the skills and knowledge that are needed for postgraduate research in music; to consider all key aspects of the research process in the order in which they are encountered, from the initial stages of a research project through to completion of the thesis; to present a music-specific focus, with explanations and examples that are immediately relevant for all music research and which take into account the special characteristics of music as a discipline; and to provide a teaching framework for lecturers, bypassing the need to extrapolate information from books designed for other disciplines. Postgraduate Research in Music incorporates a number of significant features. All key concepts are illustrated with music-relevant examples, making it easier for readers to grasp the concepts being discussed. Exercises, and in some chapters class seminar topics as well, are included to reinforce the concepts that have been discussed in the chapters. Reading lists are appended at the end of most chapters, enabling students to explore topics in greater depth. And appendices provide further information, such as referencing templates and examples. Postgraduate Research in Music: A Step-by-Step Guide to Writing a Thesis is an essential text for music students who are undertaking postgraduate research. Unique in its approach and scope, this is a "how to" book, a practical guide whose aims are fourfold: To equip students with the skills and knowledge that are needed for postgraduate research in music. To consider all key aspects of the research process in the order in which they are encountered, from the initial stages of a research project through to completion of the thesis. To present a music-specific focus, with explanations and examples that are immediately relevant for all music research and which take into account the special characteristics of music as a discipline; To provide a teaching framework for lecturers, bypassing the need to extrapolate information from books designed for other disciplines. Postgraduate Research in Music incorporates a number of significant features: All key concepts are illustrated with music-relevant examples, making it easier for readers to grasp the concepts being discussed. Exercises, and in some chapters class seminar topics as well, are included to reinforce the concepts that have been discussed in the chapters. Reading lists are included at the end of most chapters, enabling students to explore topics in greater depth. Appendices provide further information, such as referencing templates and examples"--

Postgraduate Research in Music: A Step-by-Step Guide to Writing a Thesis is an essential text for music students who are undertaking postgraduate research. Unique in its approach and scope, this is a how-to book, a practical guide that sets out, step-by-step, how to write a thesis. It aims to equip students with the skills and knowledge required for postgraduate music research in any subdiscipline, to consider all aspects of the research process, and to provide a teaching framework for music lecturers.

This volume provides an understanding of various research methodologies that have been used in music education projects. These methodologies include: historical research; quantitative research; narrative inquiry; action research; ethnography; case study; interpretative phenomenological analysis; arts-based methods; and mixed methods. Each of these research methodologies is detailed, before examples of music education projects that have used these methodologies are described. A separate chapter is devoted to each methodology, and each chapter has been written by a researcher with extensive experience and knowledge of the methodology in question. The book project is an initiative of the Australian and New Zealand Association for Research in Music Education (ANZARME).This association is the peak body for music research across the two countries. ANZARME promotes and supports all styles of research in all avenues of music education. The book will assist all those who are undertaking research in music education, particularly future researchers in music education, such as postgraduate research students. The text will assist researchers in understanding the many available research methods, and will provide clarity in choosing the most appropriate method for their particular research.

This book provides a collection of graduate students' writings in popular music studies.

The increasing interest in artistic research, especially in music, is throwing open doors to exciting ideas about how we generate new musical knowledge and understanding. This book examines the wide array of factors at play in innovative practice and how by treating it as research we can make new ideas more widely accessible. Three key ideas propel the book. First, it argues that artistic research comes from inside the practice and exists in a space that accommodates both objective and subjective observation and analyses because the researcher is the practitioner. It is a space for dialogue between apparently opposing binaries: the composer and the performer, the past and the present, the fixed and the fluid, the intellectual and the intuitive, the abstract and the embodied, the prepared and the spontaneous, the enduring and the transitory, and so on. It is not so much constructed in a logical, sequential manner in the way of the scientific method of doing research but more as a “braided” space, woven from many disparate elements. Second, the book articulates the notion that artistic research in music has its own verification procedures that need to be brought into the academy, especially in terms of the moderation of non-traditional research outputs, including the description of the criteria for allocation of research points for the purposes of data collection, as well as real world relevance and industry engagement. Third, by way of numerous examples of original and creative music making, it demonstrates in practical terms how exploration and experimentation functions as legitimate academic research. Many of the case studies deliberately cross boundaries that were previously assumed to be rigid and definite in order to blaze new musical trails, creating new collaborations and synergies.

Popular music is a growing presence in education, formal and otherwise, from primary school to postgraduate study. Programmes, courses and modules in popular music studies, popular music performance, songwriting and areas of music technology are becoming commonplace across higher education. Additionally, specialist pop/rock/jazz graded exam syllabi, such as RockSchool and Trinity Rock and Pop, have emerged in recent years, meaning that it is now possible for school leavers in some countries to meet university entry requirements having studied only popular music. In the context of teacher education, classroom teachers and music-specialists alike are becoming increasingly empowered to introduce popular music into their classrooms. At present, research in Popular Music Education lies at the fringes of the fields of music education, ethnomusicology, community music, cultural studies and popular music studies. The Ashgate Research Companion to Popular Music Education is the first book-length publication that brings together a diverse range of scholarship in this emerging field. Perspectives include the historical, sociological, pedagogical, musicological, axiological, reflexive, critical, philosophical and ideological.

This landmark collection explores the origins and foundations of music education in Europe, The Americas, Africa and Asia-Pacific, and the Middle East, and considers the inclusion of music as part of the compulsory school curriculum in the context of the historical, social and political landscape. Within each chapter, the contributors explore the following key areas: - the aims, objectives and content of the music curriculum - teaching methods - the provision and training of teachers of music - the experiences of pupils This fully revised second edition includes new chapters on Brazil, Israel, Kosovo, Lithuania, and Turkey, along with questions to encourage reflection and discussion. A concluding chapter has been added to encourage readers to consider the evolution of music education globally. The Foreword for this new edition has been written by Sheila Woodward, President of the International Society for Music Education. Contributors have been carefully selected to represent countries that have incorporated music into compulsory schooling for a variety of reasons resulting in a diverse collection which will guide future actions and policy.

To what extent does research on musical development impact on educational practices in school and the community? Do musicians from classical and popular traditions develop their identities in different ways? What do teachers and learners take into consideration when assessing progress? This book takes a fresh look at 'the musician' and what constitutes 'development' within the fields of music psychology and music education. In doing so, it explores the relationship between formative experiences and the development of the musician in a range of music education settings. It includes the perspectives of classroom teachers, popular musicians, classical musicians and music educators in higher education. Drawn from an international community of experienced educators and researchers, the contributors offer a range of approaches to research. From life history through classroom observation to content analysis, each section offers competing and complementary perspectives on contemporary practice. The book is an essential resource for musicians, educators, researchers and policy makers, offering insight into the reality of practice from those working within established traditions - such as the conservatoire and school settings - and from those who are currently emerging as significant forces in the fields of popular music education and community music.