@inbook{57884,
  abstract     = {{Although music apps are becoming increasingly popular, there has been little research on informal music practices with apps. This article presents findings of an ongoing study on learning processes and aesthetic experiences with informal appmusic practices. In particular, it discusses the aesthetic practices (Reckwitz, 2008b) of using specific places for making music. In our grounded theory study (Charmaz, 2014) we collected data using interviews, participant observation and videography. As exemplary cases, this article presents two analyses of the use of ‘inspiring places’ and ‘safe places’. The results suggest that perceiving the atmosphere is a fundamental prerequisite for both places. Additionally, the results shed light on aesthetic aspects of mobile music making. (DIPF/Orig.)}},
  author       = {{Eusterbrock, Linus and Godau, Marc and Haenisch, Matthias and Krebs, Matthias and Rolle, Christian}},
  booktitle    = {{Musikpädagogik im Spannungsfeld von Reflexion und Intervention}},
  editor       = {{Hasselhorn, Johannes and Kautny, Oliver and Platz, Friedrich}},
  keywords     = {{Education, Ästhetik, Schul- und Bildungswesen, Informal learning, Informelles Lernen, Musical education, Musikpädagogik, Anwendung, Ästhetische Erfahrung, Grounded Theory, Längsschnittuntersuchung, Learning process, Lernprozess, Longitudinal analysis, Longitudinal study, Mobiles Gerät, Music reading, Musizieren, Erziehung}},
  pages        = {{155–172}},
  publisher    = {{Waxmann}},
  title        = {{{Von ’inspirierenden Orten’ und ’Safe Places’. Die ästhetische Nutzung von Orten in der Appmusikpraxis}}},
  volume       = {{41}},
  year         = {{2021}},
}

@inbook{57886,
  abstract     = {{The research and development project Postdigital Popular Music Pedagogy (PPP) aims at the development of a music pedagogical program oriented towards informal learning in bands. Using the actor network theory, and thus investigating songwriting as a sociomaterial process, we present, exemplify, and discuss the results of the exploration of informal practices. The song as an actor network transforms through several spaces and phases. The starting point is the socio-technical constellation in which the events and the maturation of ideas as organisms are made probable. From there, an iteration of adaptation to musical-aesthetic standards and physical ability begins: The recording, internal publishing, and rehearsing phases, translate the idea from the workpiece to the object of dispatch into technical requirements. This is completed by the publication phase, in which the song idea is presented as a standardized product in several online and offline contexts. (DIPF/Orig.)}},
  author       = {{Godau, Marc and Haenisch, Matthias}},
  booktitle    = {{Praxen und Diskurse aus Sicht musikpädagogischer Forschung}},
  editor       = {{Weidner, Verena and Rolle, Christian}},
  keywords     = {{Praxeologie, Informal learning, Informelles Lernen, Komponieren, Learning, Lernen, Musical Composition, Musical education, Musician, Musiker, Musikpädagogik, Pop music, Popmusik, Popular Music, Prozess, Studie}},
  pages        = {{51–67}},
  publisher    = {{Waxmann}},
  title        = {{{How popular musicians learn in the postdigital age. Ergebnisse einer Studie zur Soziomaterialität des Songwritings von Bands in informellen Kontexten}}},
  year         = {{2019}},
}

@inbook{57891,
  abstract     = {{This article provides an insight into a qualitative research project concerning music educational practices with mobile music technologies. Based on social systems theory, this grounded-theory study observes how groups in two extracurricular music classes construct different technologies (e. g., iPads, mixers, ear phones) within the emergence of (reflexive) expectations as social structures. The results reveal five categories of technologies: technology as an instrument-toy-alternator that supports motivation, as a medium for knowledge and learning, as an adjusting device used for socio-aesthetic decision making, as a didactical tool for task-based situations, and as an isolator for inner differentiation by focusing aural perception. (DIPF/Orig.)}},
  author       = {{Godau, Marc}},
  booktitle    = {{Musikpädagogik und Kulturwissenschaft}},
  editor       = {{Cvetko, Alexander J. and Rolle, Christian}},
  keywords     = {{Musical education, Musikpädagogik, Musikunterricht, Deployment of media, Medien, Medieneinsatz, Mobile Computing, Music lessons, Qualitative Forschung, Qualitative research, Teaching of music, Use of media}},
  pages        = {{237–249}},
  publisher    = {{Waxmann}},
  title        = {{{Apps in der musikpädagogischen Praxis. Eine explorative Studie zur kommunikativen Konstruktion von mobilen Technologien im schulischen Nachmittagsbereich}}},
  volume       = {{38}},
  year         = {{2018}},
}

@inbook{57889,
  abstract     = {{During the past decade, there has been an increase of pedagogical research under conditions of posthuman theories, such as the Actor Network Theory or post-phenomenology. Yet, there has not been much research on the materiality of music pedagogical practices. This article introduces an ongoing grounded-theory study on the role of things (e.g., music instruments, black board, or digital devices) within the music classroom. Results from the analysis of group discussions and interviews with student teachers show tensions between personal preferences, school conventions, and material conventions within the process of introducing things into the classroom. (DIPF/Orig.)}},
  author       = {{Godau, Marc}},
  booktitle    = {{Soziale Aspekte des Musiklernens}},
  editor       = {{Clausen, Bernd and Dreßler, Susanne}},
  keywords     = {{Interview, Lehrer, Musical education, Musikpädagogik, Musikunterricht, Teacher, Music lessons, Qualitative Forschung, Qualitative research, Teaching of music, Object, Objekt, Ding, Handlung, Practice, Praxis, Probationary teacher training, Referendariat}},
  pages        = {{43–55}},
  publisher    = {{Waxmann}},
  title        = {{{Wie kommen die Dinge in den Musikunterricht? Zur Materialität musikpädagogischer Praxis am Beispiel divergierender Orientierungen im Kontext unterrichtsbezogenen Handelns angehender Lehrkräfte}}},
  year         = {{2018}},
}

@inbook{57890,
  abstract     = {{Within recent years, research on music learning in groups has increased. But the distinction between collaboration and cooperation is mostly unclear. This article aims to distinguish both concepts by presenting a study on popular music learning in groups (Godau, 2017) based on elements of the learning approach in Musical Futures (Green, 2008). As a result, the two concepts are seen as complementary. They form the poles of a continuum of collective learning: Collaboration characterizes the collective action toward the common goal. By contrast, cooperation occurs when group members act separately toward achieving the common goal. (DIPF/Orig.)}},
  author       = {{Godau, Marc}},
  booktitle    = {{Soziale Aspekte des Musiklernens}},
  editor       = {{Clausen, Bernd and Dreßler, Susanne}},
  keywords     = {{Kollaboration, Musik, Learning, Lernen, Musical education, Musikpädagogik, Pop music, Popmusik, Popular Music, Studie, Musikunterricht, Music lessons, Qualitative Forschung, Qualitative research, Teaching of music, Constructivism, Cooperation, Cooperative learning, Gruppe, Klassenmusizieren, Konstruktivismus, Kooperation, Kooperatives Lernen, Learning psychology, Lernpsychologie, Psychology of learning}},
  pages        = {{131–144}},
  publisher    = {{Waxmann}},
  title        = {{{Kollaboration und Kooperation beim Klassenmusizieren mit Populärer Musik. Musikmachen in der Schule im Spannungsfeld von Lernen mit der Gruppe und für die Gruppe}}},
  year         = {{2018}},
}