Chee Hoo Lum – författare

Community Music in Oceania: Many Voices, One Horizon makes a distinctive contribution to the field of community music through the experiences of its editors and contributors in music education, ethnomusicology, music therapy, and music performance. Covering a wide range of perspectives from Australia, Timor-Leste, New Zealand, Japan, Fiji, China, Taiwan, Malaysia, Singapore, and Korea, the essays raise common themes in terms of the pedagogies and practices used, pointing collectively toward one horizon of approach. Yet, contrasts emerge in the specifics of how community musicians fit within the musical ecosystems of their cultural contexts. Book chapters discuss the maintenance and recontextualization of music traditions, the lingering impact of colonization, the growing demands for professionalization of community music, the implications of government policies, tensions between various ethnic groups within countries, and the role of institutions such as universities across the region. One of the aims of this volume is to produce an intricate and illuminating picture that highlights the diversity of practices, pedagogies, and research currently shaping community music in the Asia Pacific.

World Music Pedagogy, Volume VI: School-Community Intersections provides students with a resource for delving into the meaning of "world music" across a broad array of community contexts and develops the multiple meanings of community relative to teaching and learning music of global and local cultures. It clarifies the critical need for teachers to work in tandem with community musicians and artists in order to bridge the unnecessary gulf that often separates school music from the music of the world beyond school and to consider the potential for genuine collaborations across this gulf.The five-layered features of World Music Pedagogy are specifically addressed in various school-community intersections, with attention to the collaboration of teachers with local community artist-musicians and with community musicians-at-a-distance who are available virtually. The authors acknowledge the multiple routes teachers are taking to enable and encourage music learning in community contexts, such as their work in after-school academies, museums and libraries, eldercare centers, places of worship, parks and recreation centers, and other venues in which adults and children gather to learn music, make music, and become convivial through musicThis volume suggests that the world’s musical cultures may be found locally, can be tapped virtually, and are important in considerations of music teaching and learning in schools and community contexts. Authors describe working artists and teachers, scenarios, vignettes, and teaching and learning experiences that happen in communities and that embrace the role of community musicians in schools, all of which will be presented with supporting theoretical frameworks.

World Music Pedagogy, Volume VI: School-Community Intersections provides students with a resource for delving into the meaning of "world music" across a broad array of community contexts and develops the multiple meanings of community relative to teaching and learning music of global and local cultures. It clarifies the critical need for teachers to work in tandem with community musicians and artists in order to bridge the unnecessary gulf that often separates school music from the music of the world beyond school and to consider the potential for genuine collaborations across this gulf.The five-layered features of World Music Pedagogy are specifically addressed in various school-community intersections, with attention to the collaboration of teachers with local community artist-musicians and with community musicians-at-a-distance who are available virtually. The authors acknowledge the multiple routes teachers are taking to enable and encourage music learning in community contexts, such as their work in after-school academies, museums and libraries, eldercare centers, places of worship, parks and recreation centers, and other venues in which adults and children gather to learn music, make music, and become convivial through musicThis volume suggests that the world’s musical cultures may be found locally, can be tapped virtually, and are important in considerations of music teaching and learning in schools and community contexts. Authors describe working artists and teachers, scenarios, vignettes, and teaching and learning experiences that happen in communities and that embrace the role of community musicians in schools, all of which will be presented with supporting theoretical frameworks.

Musical Childhoods of Asia and the Pacific agglomerates stories of young children’s music and musicking from around Southeast Asia and the Pacific. A collection of truly unique traditions are interrogated through a variety of contemporary methodologies. Readers are privileged to hear about children’s musical worlds from children, mothers’ musical worlds from mothers, a struggle to engage with music in a closed society, and new gender politics, among other stories. Researchers share experiences and insights gained from applying their chosen methodologies and add to the debate that shapes the continually transforming domain of music education research.Musical Childhoods builds on the diverse inquiry presented in the first three volumes in the series. This volume is an important addition to the libraries of colleges of education and schools of music, as well as music scholars and educators, researchers, and graduate students who are concerned with advancing both the scope and quality of research in the study of music teaching and learning.

Musical Childhoods of Asia and the Pacific agglomerates stories of young children’s music and musicking from around Southeast Asia and the Pacific. A collection of truly unique traditions are interrogated through a variety of contemporary methodologies. Readers are privileged to hear about children’s musical worlds from children, mothers’ musical worlds from mothers, a struggle to engage with music in a closed society, and new gender politics, among other stories. Researchers share experiences and insights gained from applying their chosen methodologies and add to the debate that shapes the continually transforming domain of music education research.Musical Childhoods builds on the diverse inquiry presented in the first three volumes in the series. This volume is an important addition to the libraries of colleges of education and schools of music, as well as music scholars and educators, researchers, and graduate students who are concerned with advancing both the scope and quality of research in the study of music teaching and learning.

This book is a Festschrift in celebration of Patricia Shehan Campbell’s impact for more than six decades as an eminent teacher-educator, musician and researcher in the fields of music education and ethnomusicology. Campbell’s oeuvre of scholarly work is wide-ranging, spanning practical resources for music teachers to facilitate the teaching and learning of different musical cultures of the world, to diverse perspectives on the musical cultures of children, to the emblematic approach of World Music Pedagogy fleshed out in the Global Music Series with Oxford University Press, the Routledge World Music Pedagogy Series and her educational work with Smithsonian Folkways Recordings, alongside her extensive work with ethnomusicologists and community musicians and scholars across the world.Notable scholars from the fields of music education, ethnomusicology and community music, including Campbell’s doctoral graduates and colleagues from across recent decades, are contributors in this Festschrift to reflect upon her scholarly work and critically dialogue on several topics: perceptions of diversity in school music and children’s musical cultures, applied ethnomusicology, music education and its relation with the multicultural and social justice, pedagogical approaches towards cultural diversity in music and bridging communities and culture bearers.

This edited book not only makes a much-needed contribution to research in arts education but also provides a strong grounding of evidential support for Singapore arts education, in contrast to the current state of affairs in arts education in many parts of the world where severe cuts in funding, lackluster support for the arts and imperialist agendas are pervasive. The case of and for Singapore – presented in this edited book through rich descriptions of the dedicated, contextualized practices of arts educators, artists and researchers – offers readers many valuable lessons and reflections on the continued survival and advancement of arts education.

This book traces the research on the design, implementation and outcomes of a professional development program for in-service primary and secondary school teachers aimed at enhancing their understanding of living music traditions in Singapore and how these could be taught in the 21st century music classroom. It proposes a professional development framework comprising the areas of Pedagogy, Practice and Perspective to guide professional development design. The book also aims to promote further discussions on adult learning and teaching about teaching, especially with regard to developing self-efficacy to handle different music traditions in a 21st century, multi-ethnic society like Singapore.

This book explores questions of identity, cultural change and creativity from the perspective of contemporary musicians currently engaged in redefining Asian musical traditions and notions of heritage in Singapore.

This peer-reviewed academic yearbook stems from the inaugural meeting of the newly formed UNESCO UNITWIN network on Arts Education Research for Cultural Diversity and Sustainable Development, held at the National Institute of Education, Singapore in April 2017. It presents international scholarly perspectives on issues related to arts education and cultural diversity in terms of: i) national and international policies; ii) terms, concepts and vocabularies; iii) current and ongoing research; and iv) best practices. The UNESCO UNITWIN is an arts education research think tank that gathers and leverages original research and critical commentaries on the arts and sustainable development from UNITWIN member states and beyond (Australia, Canada, Colombia, Germany, Hong Kong, Kenya, Korea, Israel, New Zealand, Singapore, Taiwan, the Netherlands and the United States of America).

This peer-reviewed academic yearbook stems from the inaugural meeting of the newly formed UNESCO UNITWIN network on Arts Education Research for Cultural Diversity and Sustainable Development, held at the National Institute of Education, Singapore in April 2017.

The Artground Singapore was developed along similar lines of interest, and provides a dedicated arts space for children and their caretakers to explore, play and create together through its interactive visual arts play space, as well as arts programmes that include music, theatre and dance, amongst others.

The Artground Singapore was developed along similar lines of interest, and provides a dedicated arts space for children and their caretakers to explore, play and create together through its interactive visual arts play space, as well as arts programmes that include music, theatre and dance, amongst others.

This edited book not only makes a much-needed contribution to research in arts education but also provides a strong grounding of evidential support for Singapore arts education, in contrast to the current state of affairs in arts education in many parts of the world where severe cuts in funding, lackluster support for the arts and imperialist agendas are pervasive. The case of and for Singapore – presented in this edited book through rich descriptions of the dedicated, contextualized practices of arts educators, artists and researchers – offers readers many valuable lessons and reflections on the continued survival and advancement of arts education.

This book approaches the subject of contemporary art by exploring the social embeddedness and identities of Singaporean artists. Linking artistic processes and production to both personal worlds and wider issues, the book examines how artists negotiate their relationships between self and society and between artistic freedom and social responsibility. It is based on original research into the discourses and artistic practices of local artists, with a special focus on emerging artists and artists whose work and perspectives engage with questions of identity. Reimagining contemporary Singapore and their place within it, artists are asserting their multiple and heterogeneous self-identities and contesting hegemonic norms and notions, as they negotiate and adapt to the world around them. This book is relevant to students and researchers in the fields of cultural studies, media studies, art, sociology of art, arts education, and race and ethnicity studies.