Technological Advances that Shape Practice Towards Better Teaching and Learning Experiences in the Study of Music

Alex Chilvers; Jeremy Rose; Jennifer Rowley; Michelle Eady

doi:10.20343/teachlearninqu.14.27

Authors

Alex Chilvers The University of Sydney https://orcid.org/0000-0002-3367-391X
Jeremy Rose The University of Sydney https://orcid.org/0000-0002-9159-7169
Jennifer Rowley The University of Sydney https://orcid.org/0000-0003-3756-5438
Michelle J. Eady University of Wollongong https://orcid.org/0000-0001-5624-0407

DOI:

https://doi.org/10.20343/teachlearninqu.14.27

Keywords:

music higher education, music business skills, aural skills, artificial intelligence, diversity in music education

Abstract

Arts and humanities educators have been urged in recent years to remain attentive to the political, economic, and ideological forces shaping their institutions, their work, and their students’ expectations. The arts landscape continues to face challenges such as global pandemics, online learning, and changing student populations. In continuing to be mindful and engage with teaching and learning as a collective, we must persevere and share both our successes and challenges in the arts and humanities teaching and learning space. At Sydney Conservatorium of Music (SCM), at the University of Sydney, Australia, we have a workforce of expert musicians who mentor tertiary music students within a variety of disciplines including music composition, performance, musicology, etc. In their roles as practice-focused educators, these musicians have significant experience of teaching and learning, yet many have had no opportunities to engage in formal training as higher music educators. In order to provide formal training as an essential component of an academic’s growth and development, institutions have established short-term postgraduate programs, such as the Graduate Certificate in Educational Studies (Higher Education). We present two examples of how this formal training has led to significant innovations within our faculty’s teaching practice. The importance of encouraging arts practitioners to engage in this training has established a framework of excellence in our tertiary music institution and challenges music educators to refocus on the significance of teaching and learning in music degrees globally.

Author Biographies

Alex Chilvers, The University of Sydney

Alex Chilvers (Australia) is a lecturer in aural skills at the Sydney Conservatorium of Music, the University of Sydney. His research explores intercultural creativity, dialogue, and perception. A composer and bass guitarist, he is co-founder of the Bark Tin Band, an ensemble dedicated to intercultural new music.
Jeremy Rose, The University of Sydney

Jeremy Rose (Australia), lecturer in music industry at the Sydney Conservatorium of Music. He researches creative and cultural processes through improvisation, experiential learning, and technology-enhanced pedagogy. He is also an award-winning saxophonist, composer, and director of the label Earshift Music.
Jennifer Rowley, The University of Sydney

Jennifer Rowley (Australia) is professor of higher education practice at Sydney Conservatorium of Music. Her research focuses on identity development for teachers and musicians as they transition from expert student to novice professional through the utilisation of authentic learning experiences.
Michelle J. Eady, University of Wollongong

Michelle J. Eady (Australia) is a professor in the School of Education at the University of Wollongong in New South Wales Australia. Her scholarship focuses on work-integrated learning, the scholarship of teaching and learning, and teacher education.

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