Collaborative Learning in Higher Music Education

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 IlomA?ki; 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 feedback in classical piano perform