Collaborative Learning in Higher Music Education

Contents

• Contents: Prelude: the case for collaborative learning in higher music education, Helena Gaunt and Heidi Westerlund
• Part I Theoretical Perspectives and Research Studies: Mapping the research ground: expertise, collective creativity and shared knowledge practices, Kai Hakkarainen
• Learning from artistic and pedagogical differences between musicians' and actors' traditions through collaborative processes, Biranda Ford and John Sloboda
• The art of stepping outside comfort zones: intercultural collaborative learning in the international GLOMUS camp, Eva SA|ther
• Promoting professional and paradigm reflection amongst conservatoire teachers in an international community, Helena Gaunt
• Exploring dialogues in online collaborative contexts with music teachers and pre-service students in Australia, Julie Ballantyne and Tammie Olm-Madden
• Perspectives on the dynamics of power within collaborative learning in higher music education, Catharina Christophersen
• Designing the rhythm for academic community life: learning partnerships and collaboration in music education doctoral studies, Heidi Westerlund and Sidsel Karlsen
• Expanding the master-apprentice model: tool for orchestrating collaboration as a path to self-directed learning for singing students, Lotte Latukefu and IrinaVerenikina
• Using formal self- and peer-assessment as a proactive tool in building a collaborative learning environment: theory into practice in a popular music programme, Don Lebler
• Learning from one another's musicianship: exploring the potential for collaborative development of aural skills with pianists, Lotta IlomAki
• Exploring cognitive strategies and collaboration in master class settings, Marion Long
• Intersubjectivity in collaborative learning in one-to-one contexts, Paula Collens and Andrea Creech. Part II Practitioners' Reports and Narratives: 'I listen, I hear, I understand': students' collaborative research for criteria to empower constructive fe