Abstract
This chapter introduces a vision of music education that aims towards enjoyable music learning in a shared sense. When we discuss the social aspect of music teaching and learning, we need to pay special attention in several different ways to pass the tradition of music simply because music is the live tradition. The music transcends and transforms and melts into our contemporary society. At the same time, at a different level, professional orchestral musicians and conductors devote their lives to understanding the music more deeply, in order to recreate the composers' message by adding their own interpretation and personal feeling. There is no single stance towards music, and our children may need to experience and know various musical works from the originals and arrangements, and even replicate some of the works themselves to learn how to compose. By remaining tolerant in our views to perceive various types of music, we can expand the possibilities of the music of our time, and music of all communities.
TopSocial And Environmental Influences
Not only understanding the structure of music and musical pedagogy, but we also need to explore the social aspects of music learning interdisciplinary. This section introduces social psychology that is useful to understand children’s motivation, social influences and challenge seeking in musical activities.
The Social Aspects of Motivation, Creativity and Affect Connection
Amabile (1996) suggests that intrinsic motivation to explore alternative cognitive pathways in problem-solving, as one of the main factors to determine the creativity in the daily lives of children and adults. Another research in music education indicates that once young children are intrinsically motivated to engage with musical materials, they find musical exploration as a compelling and rewarding activity, thus they pursue further challenge (Custodero, 2005). Similarly, social psychology research concludes that positive effect relates positively to creativity in an organization and the relationship is a simple linear one (Amabile, 1996). In the field of music education, Custodero (2009) also points out that “affective experience may be why we do what we do,” and emphasized the importance of promoting an affective musical experience of children (p. 84). Clearly, children's musical experience involves a general and universal cognitive process of creativity as a way of learning.