CALL FOR PAPERS
Faculty of Music and the Serbian Forum for Research in Music Education, for the first time this year, organize the Pedagogical Forum Performing Arts, as an international pedagogical-artistic-scientific meeting, lasting from September 30th till October 2nd 2016. This year`s topic is “Building experience and meaning in music education”.
Besides music education, the field which this meeting covers, this topic can also be viewed through music theory, musicology, ethnomusicology, music psychology, aesthetics and philosophy of music, theory of arts, and other adjoined interdisciplinary fields.
All the abstracts will be valued by the members of the Programme Committee. The information about the acceptance will be available by July 15th. The accepted abstracts will appear published in Serbian and English for the Meeting. All the papers from this meeting will be published in Proceedings in both Serbian and English, in 2017.
The languages in the meeting are Serbian and English as well as the languages spoken in the countries once belonging to Yugoslavia.
Short description of keynote lectures:
1. Renne Timmers: Psychology for developing musicians: some recent research and its implications for music learning
Learning to perform a musical instrument is an enormously complex task not easily discussed in a single paper. The focus is therefore on just two themes central to music learning: 1) the multimodality of the learning experience, and 2) expressive performance of music. Instrumental performance includes movement, auditory, touch and visual information. This multimodality is both an advantage and a disadvantage. The advantages seem however the strongest. In particular, I’ll review evidence that indicates the central role of motor expertise for the development of musical learning. This grounding of expertise in movement and sense modalities does not however diminish the importance of concepts and higher-level cognition for musical learning. Indeed, dialogic teaching and conceptualising expressive intentions seem effective teaching strategies to promote expressive performance of music, as I’ll review next. Recent research on cross-modal correspondences highlights how the two are connected: with a strong basis in embodied experiences, but shaped and influenced by conceptualisations of our actions and environment.
2. Аaron Williamon: Performance science and society: Addressing grand challenges in music education
In music, the conditions under which people perform can be very different from those in which they learn. This stems in part from a gap in training: not only do performers require knowledge, but they need to be able to apply their knowledge to perform well. But where and how do musicians get that experience? Experiential learning – an approach in which people learn through direct engagement with a phenomenon and then reflect upon that engagement – is essential, as is support to help performers translate and apply new learning to broader contexts. In the Centre for Performance Science, a new partnership of the Royal College of Music and Imperial College London, we recognise that the processes, outcomes, and applications of experiential learning need to be developed and examined systematically. Specifically, we are identifying properties of effective learning and factors that moderate the successful application of skills in real-world contexts. One means by which we do this is through simulation, an approach to recreating the conditions and contexts of performance, as in the RCM’s Performance Simulator. We are also pioneering new approaches to ‘interdisciplinary experiential learning’, where performers observe and experience the challenges of performance through the lens of another field, allowing them to draw back relevant skills and insight to their own domain. The unfamiliarity of engaging in different types of performance allows people to challenge entrenched habits and patterns of working that may hinder their openness to new ideas and innovation. This lecture will detail how our research is beginning to shape performance education, in music as well as in business, education, medicine, science and sport, offering enhanced long-term outcomes for performers in these fields.
3. Branka Rotar Pance: Building Experience and Kowledge through Musical Creativity
In musical pedagogy creativity is recognised and treated as the most active method of learning. There are still many questions regarding the planning and execution of creative activities in music lessons and the evaluation of creative achievements. We are thinking of the value and meaning of creative processes and products. Teachers are looking for strategies for encouraging and developing the musical creativity of students. Researchers are wondering what the role of the music teacher is in the creative activities of students as well as the role of the environment when it comes to presenting their creative achievements. In the presentation of these topics I also highlight two specific activities, which involve creativity of the students. As a part of the National Assessment of Knowledge, which was implemented in 2012 and 2014 in music education at Slovenian primary schools, there were exercises in which students wrote their own musical ideas and creations. At the presentation of the results in the field of creativity I highlight the issue of such testing and evaluation. The second example is linked to both the national and international level and relates to the Music Olympiad. The participants are musically gifted students from general schools with special interest in music. They are prepared by the music teacher – mentor from the general school. The Music Olympiad is particularly valuable because it includes and encourages creativity of young people in music. In the last part of the competition the contestants present themselves as performers of their own compositions which can be written for different ensembles. The Music Olympiad represents an important opportunity for students creativity and musical development.
The participants pay all their expenses. The meeting fee is 50 EURO. This amount covers the Program, Proceedings, Book of Abstracts, attendance to all sessions and workshops, welcome coctail and coffee-breaks.
Participants from Serbia:
To: Faculty of Music Belgrade
Address: Kralјa Milana 50, 11000 Belgrade
To: Serbian Forum for Research in Music Education
Address: Put za ćumurane 17b, 11232 Ripanj Belgrade
Bank: Raiffeisen bank Belgrade
Programme and Organizing Committee:
Prof. Vera Milankovic, Faculty of Music Belgrade, a founder of the Pedagogical Forum Performing Arts, the honored member, the president of the Organizing Committee
Prof. Milena Petrovic, PhD, Faculty of Music Belgrade, the president of the Programme Committee
Prof. Gordana Karan, PhD, Faculty of Music Belgrade
Prof. Blanka Bogunovic, PhD, Faculty of Music Belgrade
Prof. Tijana Mirovic, PhD, Faculty of Music Belgrade
Prof. Nadežda Mosusova, PhD, Faculty of Music Belgrade, retired professor
Prof. Marina Marković, PhD, Faculty of Dramatic Arts Belgrade
Prof. Mihailo Antović, PhD, Faculty of Philology University of Nis Serbia
Prof. Draga Zec, PhD, Cornell University USA
Prof. Branka Rotar Pance, PhD, Music Academy in Ljubljana, Slovenia
Doc. Sabina Vidulin, Music Academy in Pula, Croatia
Prof. Senad Kazić, Music Academy in Sarajevo, Bosnia and Hercegovinia
Doc. Gabriela Karin Konkol, PhD, Music Academy in Gdansk, Poland
Anna Galikowska Gajewska, dr. hab., Music Academy in Gdansk, Poland
Prof. Evangelos Himonides, PhD, Institute of Education London, Great Britain
Prof. Graham Welch, PhD, Institute of Education London, Great Britain
Senior lecturer Renee Timmers, PhD, University of Sheffield, Great Britain
Prof. Aaron Williamon, PhD, Royal College of Music London, Great Britain
Tuomas Erkila, PhD, University Oulu, Finland