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The Musical Imagination: Re-Imagining a Sound Education through Musical Boundary Play
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class="card"> <div class="card-body"><strong>Paper Count:</strong> 87354</div> </div> </div> </div> <div class="card publication-listing mt-3 mb-3"> <h5 class="card-header" style="font-size:.9rem">The Musical Imagination: Re-Imagining a Sound Education through Musical Boundary Play</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Michael%20J.%20Cutler">Michael J. Cutler</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper presents what musical boundary play can look like when beginning music learners work with professional musicians with an emphasis on composition. Music education can be re-imagined through the lenses of boundary objects and boundary play by engaging non-professional musicians in collaborative sound creation, improvisation and composition along with professional musicians. To the author鈥檚 best knowledge, no similar study exists on boundary objects and boundary play in music education. The literature reviewed for this paper explores the epistemological perspectives connected to music education and situates musical boundary play as an alternative approach to the more prevalent paradigms of music education in K-12 settings. A qualitative multiple-case study design was chosen to seek an in-depth understanding of the role of boundary objects and musical boundary play. The constant comparative method was utilized in analyzing and interpreting the data resulting in the development of effective, transferable theory. The study gathered relevant data using audio and video recordings of musical boundary play, artifacts, interviews, and observations. Findings from this study offer insight into the development of a more inclusive music education and yield a pedagogical framework for music education based on musical boundary play. Through the facilitation of musical boundary play, it is possible for music learners to experience musical sound creation, improvisation and composition in the same way an instrumentalist or vocalist would without the acquisition of complex component operations required to play a traditional instrument or sing in a proficient manner. <iframe src="https://publications.waset.org/abstracts/125491.pdf" style="width:100%; height:400px;" frameborder="0"></iframe> <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=boundary%20play" title="boundary play">boundary play</a>, <a href="https://publications.waset.org/abstracts/search?q=boundary%20objects" title=" boundary objects"> boundary objects</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20education" title=" music education"> music education</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20pedagogy" title=" music pedagogy"> music pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20boundary%20play" title=" musical boundary play"> musical boundary play</a> </p> <a href="https://publications.waset.org/abstracts/125491/the-musical-imagination-re-imagining-a-sound-education-through-musical-boundary-play" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/125491.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">126</span> </span> </div> </div> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a href="https://waset.org/page/support#legal-information">Legal</a></li> <li><a target="_blank" rel="nofollow" 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