Dylan Van Der Schyff
Biographic Data
| ID | 1653711 |
|---|---|
| NAME | Dylan Van Der Schyff |
| GIVEN NAMES | Dylan |
| FAMILY NAME | Van Der Schyff |
| SIGNATURE | VAN DER SCHYFF D |
| AFFILIATIONS | The University of Melbourne |
| ORCID | 0000-0001-6503-914X |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
The dynamics of musical participation
In this paper we argue that our comprehension of musical participation—the complex network of interactive dynamics involved in collaborative musical experience—can benefit from an analysis inspired by the existing frameworks of dynamical systems theory and coordination dynamics. These approaches can offer novel theoretical tools to help music researchers describe a number of central aspects of joint musical experience in greater detail, such as p…
Processes and Experiences of Creative Cognition in Seven Western Classical Composers
In a qualitative study, we explored the range of reflections and experiences involved in the composition of score-based music by administering a 15-item, open-ended, questionnaire to seven professional composers from Europe and North America. Adopting a grounded theory approach, we organized six different codes emerging from our data into two higher-order categories ( the act of composing and establishing relationships). Our content analysis, ins…
Music teachers’ self-reported views of creativity in the context of their work
What are the main views and perceptions of creativity of a music teacher? By administering an open-ended questionnaire to 11 music teachers, we sought to elicit responses to clarify what are their self-reported understandings of creativity; how they think musical creativity can be facilitated in a teaching setting; and how they can differentiate between individual and collective forms of musical creativity in the classroom. A thematic analysis ga…
By Myself but Not Alone. Agency, Creativity and Extended Musical Historicity
In this paper we offer a preliminary framework that highlights the relational nature of solo music-making, and its associated capacity to influence the constellation of habits and experiences one develops through acts of musicking. To do so, we introduce the notion of extended musical historicity and suggest that when novice and expert performers engage in individual musical practices, they often rely on an extended sense of agency which permeate…
Musical Bodies, Musical Minds
A matter of presence
In the current study, 11 expert music teachers were asked to reflect on their own practice and compare their experience of individual and collective teaching settings. Adopting an approach based on grounded theory, two interrelated themes were identified in the raw data: teaching issues and professional development. In both categories, the notion of ‘presence’ emerged as a defining feature of the comparison. Teachers reported to be less present i…
Critical ontology for an enactive music pedagogy
An enactive approach to music education is explored through the lens of critical ontology. Assumptions central to Western academic music culture are critically discussed; and the concept of 'ontological education' is introduced as an alternative framework. We argue that this orientation embraces more primordial ways of knowing and being, revealing the fundamentally self-organizing or 'autopoietic' nature of the embodied musical mind. This enactiv…
Critical ontology for an enactive music pedagogy
An enactive approach to music education is explored through the lens of critical ontology. Assumptions central to Western academic music culture are critically discussed; and the concept of 'ontological education' is introduced as an alternative framework. We argue that this orientation embraces more primordial ways of knowing and being, revealing the fundamentally self-organizing or 'autopoietic' nature of the embodied musical mind. This enactiv…
Critical ontology for an enactive music pedagogy
An enactive approach to music education is explored through the lens of critical ontology. Assumptions central to Western academic music culture are critically discussed; and the concept of 'ontological education' is introduced as an alternative framework. We argue that this orientation embraces more primordial ways of knowing and being, revealing the fundamentally self-organizing or 'autopoietic' nature of the embodied musical mind. This enactiv…
A matter of presence
In the current study, 11 expert music teachers were asked to reflect on their own practice and compare their experience of individual and collective teaching settings. Adopting an approach based on grounded theory, two interrelated themes were identified in the raw data: teaching issues and professional development. In both categories, the notion of ‘presence’ emerged as a defining feature of the comparison. Teachers reported to be less present i…
The dynamics of musical participation
In this paper we argue that our comprehension of musical participation—the complex network of interactive dynamics involved in collaborative musical experience—can benefit from an analysis inspired by the existing frameworks of dynamical systems theory and coordination dynamics. These approaches can offer novel theoretical tools to help music researchers describe a number of central aspects of joint musical experience in greater detail, such as p…
Processes and Experiences of Creative Cognition in Seven Western Classical Composers
In a qualitative study, we explored the range of reflections and experiences involved in the composition of score-based music by administering a 15-item, open-ended, questionnaire to seven professional composers from Europe and North America. Adopting a grounded theory approach, we organized six different codes emerging from our data into two higher-order categories ( the act of composing and establishing relationships). Our content analysis, ins…
Music teachers’ self-reported views of creativity in the context of their work
What are the main views and perceptions of creativity of a music teacher? By administering an open-ended questionnaire to 11 music teachers, we sought to elicit responses to clarify what are their self-reported understandings of creativity; how they think musical creativity can be facilitated in a teaching setting; and how they can differentiate between individual and collective forms of musical creativity in the classroom. A thematic analysis ga…
By Myself but Not Alone. Agency, Creativity and Extended Musical Historicity
In this paper we offer a preliminary framework that highlights the relational nature of solo music-making, and its associated capacity to influence the constellation of habits and experiences one develops through acts of musicking. To do so, we introduce the notion of extended musical historicity and suggest that when novice and expert performers engage in individual musical practices, they often rely on an extended sense of agency which permeate…
Musical Bodies, Musical Minds
Neuroscience and Music Perception (6 works) · Psychology (6 works) · Sociology (6 works) · Social Psychology (5 works) · Cognitive science (4 works) · Diverse Music Education Insights (4 works) · Music education (4 works) · Musical (4 works) · Pedagogy (4 works) · Visual arts (4 works)