Musical Environment: Play, Design and Enrichment 2026
Musical Environments and Play
We play music in many different places. The design of the environment impacts our music-making. We actively shape social and physical environments through music-making and sound design. Adults support young people under 18 years of age through teaching, mentoring, negotiating and facilitating participation. At this time, there is the need for greater involvement of communities in music-making in the Wynnum-Manly Bayside region of Brisbane.
Image 1: "Prinnie Stevens, Mahalia Barnes" by Eva Rinaldi Celebrity Photographer is licensed under CC BY-SA 2.0.
The creative process is often playful and experimental. We gather together to create new sound worlds in social settings for entertainment, fun and to commemorate important milestones. The musical play can enrich personal development and lead to new learning and vocational pathways. We learn to work together through making music and sharing the experience with others in families and communities.
Music-Making -- Bayside Brisbane
Places where under 18s play music around the Brisbane Bayside include:
* Schools
* Music Education
* Churches and Synagogues
* Garage Bands--home and online
* Maker Spaces at Community Centers
* Choirs
* Ensembles
* Bands
Organisations
* Bayside Brass (ages from 8 to 80 years) Facebook
* Bayside Youth Band -- Ensembles--Paul Jones (Wynnum Community Centre, 105 Florence St)
* Queensland Music Teachers Association (search online for music teachers in your area)
* Australian Music Therapy Association (search online for registered music therapists in your area)
* Wynnum Music Shop (retailer music resources/equipment)
If you know of other organisations in the Wynnum-Manly / Bayside area, please let me know. More opportunities are available in the wider Brisbane region through searching My Community Directory online.
Making-music can be social, or solitary. The purposeful design of the musical environment supports active learning, exploration and play. Looking for further examples of creatively designed musical environments that enrich musical development leading to greater competence. There seems to be a gap in services that cater for young people's needs.
Designing musical environments calls for knowledge of how to remove barriers, negotiate people's participation--interacting with voices, tools, movement, technology and materials. Sometimes it is necessary to adapt or design assistive equipment and modifications to the environment. Consultation is important to negotiate cultural heritage and involve respected culture bearers.
Music Technology is a large part of school music education requirements. A separate post is needed for discussion of apps, online resources and digital tools. No recording studios were identified at Bayside region.
Designing Playful Environments
I seek to identify innovative musical play environments and to design and shape sound worlds in 2026. My focus is mostly on early childhood and young people under 18 years of age. However, the same processes would apply for people of all ages. Music crosses age and cultural borders. Cross-disciplinary approaches are encouraged.
As the new year begins, it is timely to think about musical trends that occur in certain environments and how they stifle or support our creativity. We can work towards new resolves for musical play and active exploration in the new year through networking together. Cultural heritage is part of musical expression and shaping identify. The focus is on cooperation in music-making, and less on competition.
The Principles of active learning:
Learner-Centered Approach: Active learning shifts the focus from the instructor to the learner, encouraging students to take an active role in their education. This involves engaging with the materials through discussions, problem-solving, and hands-on activities.
Engagement and Interaction: Active learning promotes student engagement by incorporating interactive elements into the learning process. This can include group work, peer instruction, and collaborative projects, which enhance understanding and retention of information.
Reflection: Reflection is a critical component of active learning. Students are encouraged to think about what they have learned, how it applies to their lives, and how it connects to prior knowledge. This process helps to personalise and deepen their understanding of the material.
Application of Knowledge: Active learning emphasises the practical application of knowledge. Students are given opportunities to apply what they have learned in material-world and virtual contexts, which reinforces their understanding and helps them develop critical thinking skills.
Collaboration: Learning is often enhanced through collaboration with others. Working with peers allows students to share ideas, challenge each other's thinking, and build a deeper understanding of music-making. Research shows that collaborative learning can lead to better outcomes than individual study. Mentors and music leaders support collaboration as they build social music-making environments and encourage participation.
Benefits of Active Learning
Improved Retention: Engaging actively with content helps students remember information better compared to passive learning methods.
Development of Higher-Order Thinking Skills: Active learning encourages students to analyse, synthesise, and evaluate information, fostering critical thinking and problem-solving abilities.
Increased Motivation: When students are involved in their learning process, they are more likely to be motivated and invested in their education.
In summary, active learning principles focus on creating an engaging, interactive, and reflective learning environment that empowers students to take charge of their music education and apply their knowledge effectively. This approach not only enhances learning outcomes but also prepares students for real-world challenges.
Personal Learning Networks
What opportunities can you provide for designing and enriching musical environments?
Some examples of music-making places in your neighbourhood?
How can you support young people's participation in music-making and remove barriers?
How do you facilitate active learning through musical play?
How does music-making express cultural heritage? What are the musical sub-cultures?
Sandra Kirkwood
B.Occ. Thy, B.Music, Grad Cert Education (Digital Learning & Leadership in Education), M.Phil (Qld Conservatorium, GU)
References
https://www.facultyfocus.com/articles/teaching-and-learning/five-key-principles-of-active-learning/
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