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Krueger, Patti J. „Ethnographic Research Methodology in Music Education“. Journal of Research in Music Education 35, Nr. 2 (1987): 69. http://dx.doi.org/10.2307/3344983.
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Bernāts, Guntars, und Andrejs Mūrnieks. „THE CHALLENGES, RISKS AND PROSPECTS OF THE REALISATION OF THE MUSIC METHODOLOGY MODULE OF ONE – YEAR EDUCATION PROGRAMME“. Education. Innovation. Diversity. 1, Nr. 2 (26.05.2021): 24–30. http://dx.doi.org/10.17770/eid2021.1.5428.
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The reform of teachers’ education commenced by the Ministry of Education and Science provides an opportunity to obtain a qualification as a teacher within one year, encompassing studies based in a working environment for those who already have higher education. The goal of the research is to identify the challenges, risks and perspectives of the realization of the module “Music methodology” of the study course “Integrated methods in Teaching Culture Understanding and Self-expression in Art” within the one-year study programme “Skolotājs”. The research compared study course plans in music teaching and choir work methodology at two Latvian higher education institutions, as well as at two foreign higher education institution, where a qualification as a music teacher at a comprehensive school can be attained. The research was undertaken based on an analysis of theoretical sources, providing an understanding about a synthesis of varying contemporary methodological approaches. It encompasses the acquisition of a knowledge of cultural history and the history of music, the style and future directions of popular music, desirably not just theoretically but practically as well, in the education of the students. The actualization of such study courses as music teaching methodology, the research process in music teaching, music history and stylistics, the psychology of music, conducting, choir/vocal ensemble work, methodology and music project management are important for the high quality and integrated acquisition of music teaching methodology.
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Voievidko, Liudmyla. „REQUIREMENTS FOR PRACTICAL CLASSES OF HIGHER EDUCATION APPLICANTS IN METHODOLOGY OF MUSIC EDUCATION“. Pedagogical Education: Theory and Practice 2, Nr. 26 (08.05.2019): 43–48. http://dx.doi.org/10.32626/2309-9763.2019-26-2.43-48.
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Castanon-Rodríguez, Rosario. „Teaching with LEEMUSICA/READMUSIC in Higher Education: Perception and Improve in Music Education“. Proceedings 2, Nr. 21 (12.12.2018): 1353. http://dx.doi.org/10.3390/proceedings2211353.
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The present work tries to reflect the student perception about their music education through the application of two tests in the classroom with university students at 3rd and 4th year of the Grade of Teacher at the Faculty of Education in the University of Valladolid. They have been realized at the beginning of the year the first one and at the end of the first semester of the academic year 2017/18. The first one concerns their previous formation in music (school and High school as well as formal/unformal music education—conservatories and schools of music - included their perception about the acquisition of basic music skins. The second test ask them specifically about their perception of improve of those skills (music language, tuning, playing instruments, aural education, didactic of music and use of ICT) after their formation in Higher Education with Leemúsica/Readmusic methodology.
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Caliga, Marina. „12. The Methodology of Music Education Lesson Completeness by Means of the Vocal-Choral Singing Dominant Activity“. Review of Artistic Education 19, Nr. 1 (01.04.2020): 93–99. http://dx.doi.org/10.2478/rae-2020-0012.
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AbstractChoral singing has always been an activity in which the participant, the choir singers sang together, achieved the same goals, lived and perceived music together. In the music education lesson, the choral-vocal singing is an activity with great teaching and educational possibilities. It is one of the most accessible ways of interpreting music in school. This article methodologically investigates the completeness of the music education lesson with the dominant activity of vocal-choral singing.
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Kuzmich, Natalie. „Research, Problem-solving and Music Education“. British Journal of Music Education 4, Nr. 3 (November 1987): 211–22. http://dx.doi.org/10.1017/s0265051700006045.
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The article supports the following thesis: that creative problem-solving approaches to learning can be incorporated into any methodology; can, and perhaps, should become an essential component within a music programme because, creative problem-solving is a direct route to understanding fairly sophisticated musical manipulations or procedures; it involves students in decision-making activities and the responses are sources of feedback to student and teacher; it permits multiple results; hence, it reflects needs, interests, and abilities of students; it enhances learning and makes more relevant the things that have to be learned; it encourages direct contact with the expressive character of music.
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Bolden, Benjamin, und James Nahachewsky. „Podcast creation: A methodology for exploring self within music teacher education“. Journal of Music, Technology and Education 8, Nr. 3 (01.12.2015): 243–60. http://dx.doi.org/10.1386/jmte.8.3.243_1.
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Bresler, Liora. „Embodied Narrative Inquiry: A Methodology of Connection“. Research Studies in Music Education 27, Nr. 1 (Dezember 2006): 21–43. http://dx.doi.org/10.1177/1321103x060270010201.
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Amoah, Charles Agyei, Eric Kwadzo Klutse, Eddison Foster Mawusi und Solomon Sukpen. „Impact of Music Education at Colleges of Education on Primary School Pupils in Nanumba North District“. International Journal of Scientific Research and Management 8, Nr. 05 (20.05.2020): 1383–407. http://dx.doi.org/10.18535/ijsrm/v8i05.el04.
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This paper presents how music education in the Colleges of Education influences the teaching of Music and Dance on the primary school. This study aimed to evaluate the training of the student-teachers in preparation to teach Music and Dance as well as to explore the relationship between Music Education at the Colleges of Education and the primary schools. Qualitative method was used and data were obtained through interviews and observations. Fifteen (15) respondents were selected from three (3) schools in the Nanumba North District – Bimbila were randomly sampled for the study. Findings revealed that the amount of training or preparation received in Colleges of Education has been inadequate and has no influence on what entails in the Creative Arts (Music and Dance) syllabus. Hence making teachers handicapped in handling Music and Dance lessons. The work recommends that more attention should be given to teacher preparation in Music and Dance in terms of contents and the methodology to meet the demands of Creative Arts (Music and Dance) syllabus. Also, there should be a revision of subjects that comprise Creative Arts in the Colleges to conform to Creative Arts in the primary school.
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Daniel, Ryan. „Peer assessment in musical performance: the development, trial and evaluation of a methodology for the Australian tertiary environment“. British Journal of Music Education 21, Nr. 1 (März 2004): 89–110. http://dx.doi.org/10.1017/s0265051703005515.
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This article outlines the development and trial of peer assessment procedures for implementation within a music performance context in the Australian tertiary environment. An overview of the literature on peer assessment is presented, followed by reference to specific trials of peer assessment within a tertiary music student context. The paper then presents the rationale for and methodology applied in developing two forms of peer assessment of music performance, for trial across one academic year. Student evaluation data obtained via mid- and end-of-year questionnaires are analysed and discussed, as are implications for further research.
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Быков-Куликовский, Дмитрий Николаевич. „SEMANTIC APPROACH IN MUSIC AND ART EDUCATION“. Tomsk state pedagogical university bulletin, Nr. 2(214) (24.03.2021): 101–11. http://dx.doi.org/10.23951/1609-624x-2021-2-101-111.
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Рассматривается возможность использования исторически сложившихся интонационных семантических стереотипов для развития творческой активности учащихся, мотивации познавательной учебной деятельности. Анализируются конкретные варианты использования «мигрирующих интонационных комплексов» для импровизации, сочинения, ансамблевого музицирования на музыкально-теоретических дисциплинах детских музыкальных школ (детских школ искусств), на музыкальных занятиях общеобразовательных школ и различных учреждениях дополнительного образования, включая дошкольное. Именно мотивация способствует достижению важнейшей цели в образовании – экологизации учебного процесса. Это значит максимально вписать учебную деятельность в жизненные потребности учащихся. Положительно переживаемые эмоции в процессе музыкальных занятий способствуют решению очень многих задач. «Пропустить» музыку через себя, «прожить в ней», музицируя, – значит полюбить, понять. Решение весьма сложных вопросов музыкальной педагогики академик Б. В. Асафьев видел в использовании семантического подхода, открывающего и перспективу будущих исследований ученых, и перспективу разработки методики и методологии семантического подхода в музыкально-художественном воспитании и образовании. На основе семантического подхода-анализа исследуются наиболее яркие культурные коды «золотого фонда стандартов» мировой музыки. Представлены некоторые методические подходы-рекомендации и предложения их практического использования в музыкальной педагогике. Сделаны соответствующие выводы по теме исследования. На основе семантического подхода-анализа можно раскрыть феномен музыкального текста, его смысла «не только с позиции фонетики, грамматики и синтаксиса», но и «с точки зрения поэтики, семантики, стилистики». Используя семантический подход в процессе обучения, можно приобрести «навыки устной музыкальной речи» – импровизации, бывшей обязательной когда-то при подготовке музыканта. Необходимо создание «органичной межпредметной связи» между теоретическими дисциплинами и «музицирующей практикой», так как теоретические дисциплины могут и изначально должны быть музицирующими. Вопрос в методике, методологии «погружения» в музыку. Музыкальной педагогике еще предстоит принять и освоить семантический подход, учитывая уровень современной психологии восприятия, выработать методику и методологию учебного процесса, чтобы заинтересовать, увлечь, влюбить в музыку, слушаемую и исполняемую. The article considers the possibility of using historical intonation semantic stereotypes for the development of creative activity of students, motivation of cognitive learning activities. Specific options are being considered for the use of «migratory intonation complexes» for improvisation, composition, ensemble music in the musical-theoretical disciplines of CMS / CSA, in music classes of general education school and various institutions of additional education, including pre-school. It is motivation that contributes to the achievement of the most important goal in education - the greening of the educational process. This means to maximally incorporate educational activities into the life needs of students. Positively experienced emotions in the process of music classes contribute to the solution of many problems. To «pass» music through oneself, «to live in it» while playing music means to love, to understand. Academician B. V. Asafiev saw the solution to very complex issues of musical pedagogy in the use of the semantic approach, which opens up both the prospect of future research of scientists, and the prospect of developing the methods and methodology of the semantic approach in musical and artistic education and training. Based on the semantic approach of analysis the article explores the brightest cultural codes of the «golden fund of standards» of world music. Some methodical approaches-recommendations and proposals for their practical use in music pedagogy are presented. In the effective and final sections of the article, the relevant conclusions are drawn on the topic of the study. On the basis of semantic approach-analysis it is possible to reveal the phenomenon of musical text, its meaning «not only from the position of phonetics, grammar and syntax», but also «from the point of view of poetics, semantics, style». Using a semantic approach in the process of learning you need to acquire «the skills of oral musical speech» – improvisation, which was once obligatory in the training of a musician. It is necessary to create an «organic intersubject communication» between theoretical disciplines and «music-making practice» because theoretical disciplines can and should be musical. The question is the methods of teaching, the methodology of «immersion» in music. Musical pedagogy has yet to be adopted and mastered, taking into account the level of modern psychology of perception, to develop the methods and methodology of the educational process to interest, captivate, to make students fall in love with music heard and performed.
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Ho, Wai-Chung, und Wing-Wah Law. „Music education and cultural and national values“. International Journal of Comparative Education and Development 22, Nr. 3 (07.07.2020): 219–32. http://dx.doi.org/10.1108/ijced-10-2019-0053.
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PurposeThe purpose of this paper is to examine music teachers' perceptions of teaching cultural and national values (also defined as national cultural values) to explore the tensions facing school music education in the choice of music types to be delivered in Hong Kong and Taiwan.Design/methodology/approachWith specific regard to music teachers' perceptions of “values,” “music cultures” and “nationalism,” data were drawn from a survey questionnaire given to 343 music teachers (155 preservice and 188 in-service music teachers) and semistructured interviews with 36 of these respondents.FindingsThe findings of the study showed that though many respondents in Hong Kong and Taiwan felt comfortable teaching traditional Chinese music, they did not want to teach contemporary Mainland Chinese music and other political or patriotic forms in the school music curriculum. The data also demonstrated some shortcomings in introducing a balance of music types into the curriculum, as well as limitations in promoting national education in response to the respective sociopolitical situations in Hong Kong and Taiwan.Research limitations/implicationsThis study was subject to limitations regarding the potential generalizability of the findings on school music teachers' perceptions in Hong Kong and Taiwan.Practical implicationsThe implications for teachers and student teachers regarding the development of cultural and national values related to the political processes in Hong Kong and Taiwan are complicated, because of not only their relationship with Mainland China and its education based on nationalism but also the extent of teachers' professional training to help create an enabling environment for national and cultural development.Originality/valueThe findings of this study revealed that there are fundamental gaps in the overt and operational curricula in Hong Kong and Taiwan concerning the sociopolitical function of values in school music education in response to their respective sociopolitical situations.
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Ejiofor, Benjamin Asodionye, und Tekena Gasper Mark. „Brechtian Methodology in Wise’s The Sound of Music: Insights into Theatre in Education“. AFRREV IJAH: An International Journal of Arts and Humanities 9, Nr. 1 (28.04.2020): 28–43. http://dx.doi.org/10.4314/ijah.v9i1.4.
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Methods are problem solving devices for the benefit of education in society. When a method assumes regimental fixations, society suffers hackneyed bouts of limitation and contention necessitating flux. This paper examines issues of regimentalism as they affect society in Robert Wise’s The Sound of Music, and the staccato notes of change inevitably mobilizing a Brechtian methodological reading amplifying social change, in a Theatre in Education performance. Bertolt Brecht (1898-1965), accomplished German director, playwright and theorist, mobilized theatre for social change by setting up Marxist dialectics in pursuit of retrenchment of total empathy; giving free reign to critical consciousness in theatrical productions. This paper has investigated analytically, the representations of this Brechtian methodology in The Sound of Music with the manifest result that the experiment in the movie has produced a healthier and better organized society than the German regimental machine.
Key Words: Education, Theatre in Education, Brecht, Alienation Effect, Social Change, Family, Critical, Learning and Socialization
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Yunwenting, H. „The methodological aspect of music teaching in China on the example of the fifth secondary school in Songshan district“. Vestnik of Saint Petersburg State University of Culture, Nr. 3 (44) (September 2020): 139–42. http://dx.doi.org/10.30725/2619-0303-2020-3-139-142.
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This article was created because of attending classes of seventh and eighth graders at the 5th Middle School in Chifeng City, Songshan District, PRC in 2018. After studying and analyzing the materials and experience of music teachers in this class, the article describes the music lessons that are being conducted and presents some recommendations for the development of music education in Chinese secondary schools. This work is the second in a series of articles on music education in China (the first was devoted to the methodology of teaching music lessons in elementary school).
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Schneider Grings, Ana Francisca, und Liane Hentschke. „Attributional Theory in investigating public music performance in higher music education“. International Journal of Music Education 35, Nr. 1 (08.07.2016): 31–46. http://dx.doi.org/10.1177/0255761415619393.
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The purpose of this research was to investigate the causes attributed by undergraduate music students to situations of failure and success in public music performance. Attributional Theory has been used in this research as the theoretical framework to understand how situations of success and failure are interpreted by the person of the activity. The analysis was conducted from an Intrapersonal perspective of motivation, i.e., how the attributions made by the students doing an undergraduate course in music revealed their notions and beliefs. The methodology used included a non-probabilistic survey and the data were collected through a self-administered questionnaire involving 130 undergraduate music students of southern Brazil. The results show that in situations considered to be successful, the most frequent attributed causes are effort (77.7%), persistence (65.4%), and interest in the performance (63.1%), whereas in situations considered to be failures the most important aspects are emotional (60.8%), difficulty of the task (36.2%), and lack of effort (30.8%). This research shows that students who have more musical experience regard their performances as good or excellent, whereas those that have little experience do not view themselves in this way. The data reveal that the greater the importance that is attached to an activity, the more time is spent on preparing for it; in the same way students tend to be more engaged with musical activities and devote more time to them when they are aware of their skills and value them. Music students feel responsible for their results, which shows that they are engaged in their learning and seek to satisfy an inner need to achieve success.
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Bannister, Roland. „Difficult but Sensitive: Participant Observation Research in Music Education“. British Journal of Music Education 9, Nr. 2 (Juli 1992): 131–41. http://dx.doi.org/10.1017/s0265051700008901.
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There have been numerous calls for the use of qualitative research in music education. Music educators have been slow to heed these calls, despite the wide acceptance of qualitative methods in other areas of education research. This paper describes the place of qualitative paradigms in the gamut of research methodology and assesses the potential of the ethnographic techniques of participant observation and ethnographic interviewing for music education. In doing so it responds to Swanwick's (1984) critique of participant observation method by, (a) describing some of the techniques' philosophical bases, (b) citing several model ethnographies in other disciplines, and (c) reviewing some of the ethnographic research literature which, the author argues, has recognised the particular strengths and weaknesses of qualitative method and developed a strong philosophical and empirical rationale for its use. The author argues that ethnographic method has much to offer as we seek solutions to the problems of understanding music education in its social context in the late twentieth century.
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Koptelova, Tatyana I. „The Holizm and Organic Philosophy in Modern Muzykologiya: Search of New Relevant Methodology“. Musical Art and Education 7, Nr. 1 (2019): 9–24. http://dx.doi.org/10.31862/2309-1428-2019-7-1-9-24.
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Object of research is the Philosophical Paradigm of modern methodology of pedagogics of music education. Methodological opportunities of a Holism and Organic Philosophy are analyzed; features of their application in a musicology. At the same time the Organic Philosophy is considered as the system of knowledge and also the intellectual tradition focusing attention on functional integrity of objects of reality and laws of wildlife. It is about need of studying of music as the phenomenon of spiritual culture assuming unity of human mind, imagination and experience. Scientific potential of Organic Philosophy which allows to investigate all set of the national Cultural Paradigms reflected in modern musical art is realized and to find ways of overcoming such difficulty as the irrational maintenance of music. Contradictions of a Holism and ways of their permission in Organic Philosophy are investigated. The expediency of the appeal to Organic Philosophy is proved in the sphere of formation of new methodology of pedagogics of music education which main task is development of creative identity and disclosure of performing talent. In this regard the integrating potential of Organic Philosophy, her ability through a phenomenon of life to connect all available and inaccessible to human consciousness is shown in the scientific article. The Organic Philosophy allows art to speak about science not only language of artistic image, but also from a position of conscious feeling (an altruistic love).
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Selitsky, Alexander Ya. „Upbringing on Worthy Models (On the Methodology of Instruction of Musical Criticism)“. Music Scholarship / Problemy Muzykal'noj Nauki, Nr. 4 (2015): 107–14. http://dx.doi.org/10.17674/1997-0854.2015.4.107-114.
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Tomlinson, Michelle M. „A case study of diverse multimodal influences on music improvisation using visual methodology“. International Journal of Music Education 34, Nr. 3 (08.07.2016): 271–84. http://dx.doi.org/10.1177/0255761415619059.
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Shcherbakova, Anna I., und Irina А. Korsakova. „Philosophy. Pedagogy. Music. Origin and Development of the Scientific School“. Musical Art and Education 8, Nr. 3 (2020): 50–64. http://dx.doi.org/10.31862//2309-1428-2020-8-3-50-64.
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The scientific school “Methodology of pedagogy of music education” is a significant phenomenon in the pedagogy of music education. It was happened in the depths of the Department of methodology and methods of music education of the Moscow Pedagogical State University, headed by a talented scientist, a great teacher-musician, amazing person who gave his whole life to the education of future music teachers – Eduard B. Abdullin. Today, followers of this scientific school work in many parts of the world, continuing the ideas laid down by its founder. One of the conceptual positions of the School is the unity of philosophy, theory, and practice in the work of a teacher-musician, the attitude to music as a carrier of value, the most important “tool” for personality formation, and the source of student creative potential development. The philosophical level of the musical and pedagogical process is a key component of the worldview training of the future teacher-musician in all forms and at all levels of education at the University: in lecture and seminar-practical work, individual communication between the teacher and the student as a collective subject of the musical and creative process, in project and other extracurricular work. Philosophical understanding of music and music education is possible in three aspects: ontological, epistemological, and axiological. The unity of these facets of understanding the musical and pedagogical reality allows us to approach the study of the phenomenon in question from the position of a holistic, systematic, multi-level approach, which determines the research essence of the concept of Eduard B. Abdullin’s scientific school.
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Pérez-Moreno, Jessica, und Carmen Carrillo. „The impact of school music education: The experiences of four Catalan citizens“. International Journal of Music Education 38, Nr. 1 (09.10.2019): 113–25. http://dx.doi.org/10.1177/0255761419877576.
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This study examines the impact made by music education on a sample of Catalan citizens who studied this subject during their compulsory schooling. A biographical narrative methodology was used to investigate a broad spectrum of the participants’ school musical experiences and to analyze the impact that music education has had on different aspects of their lives. Their perceptions and experiences, collected and expressed through life stories, show a correlation between the theoretical approach to learning music adopted by teachers and its little impact on the participants’ lives. Their stories also bring to light the difficulties involved in identifying and distinguishing the existing impact between both in-school and extracurricular music education but identify emotional impact as the most relevant one overall. Based on the evidence provided, this article aims to contribute to the debate on the role of music education on the school curriculum.
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Wright, Ruth, und Panagiotis Kanellopoulos. „Informal music learning, improvisation and teacher education“. British Journal of Music Education 27, Nr. 1 (26.01.2010): 71–87. http://dx.doi.org/10.1017/s0265051709990210.
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This paper1 explores firstly the sense in which improvisation might be conceived of as an informal music education process and, secondly, the effects of a course in free improvisation on student teachers' perceptions in relation to themselves as musicians, music as a school subject and children as musicians. The results of a study conducted in two Greek universities are presented. Using a narrative methodology, examples of data from the reflective diaries or learning journals which 91 trainee teachers kept as part of their participation in an improvisation module are presented and discussed. The argument is made that improvisation, as a particular type of informal music learning process, has an important role to play in fostering the qualities required of teachers to work with informal pedagogies in music education. Furthermore, we would suggest that such musical experiences might gradually lead to the development of a critical perspective on both music education theories and practices. Improvisation might emerge as a moment and a practice of rupture with linearity of progress, working against reification of knowledge and glorification of received information. The findings suggest that improvisation might offer a route for creating an intimate, powerful, evolving dialogue between students' identities as learners, their attitudes towards children and their creative potential, and the interrelationships of the notions of expressive technique and culture, thus becoming ‘an act of transcendence’ (Allsup, 1997, p. 81). We propose that the issue of connecting informal learning and improvisation might be resolved by regarding improvisation as an exemplary case of creating a communicative context where most representations/conceptualisations/struggles to solve problems are left implicit. Such experiences for pupils and teachers alike might further extend the social and personal effectiveness of informal learning as music pedagogy.
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King, Elaine. „Musical Shaping Gestures: Considerations about Terminology and Methodology“. Empirical Musicology Review 8, Nr. 1 (24.10.2013): 68. http://dx.doi.org/10.18061/emr.v8i1.3925.
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Fulford and Ginsborg’s investigation into non-verbal communication during music rehearsal-talk between performers with and without hearing impairments extends existing research in the field of gesture studies by contributing significantly to our understanding of musicians’ physical gestures as well as opening up discussion about the relationship between speech, sign and gesture in discourse about music. Importantly, the authors weigh up the possibility of an emerging sign language about music. This commentary focuses on three key considerations in response to their paper: first, use of terminology in the study of gesture, specifically about ‘musical shaping gestures’ (MSGs); second, methodological issues about capturing physical gestures; and third, evaluation of the application of gesture research beyond the rehearsal context. While the difficulties of categorising gestures in observational research are acknowledged, I indicate that the consistent application of terminology from outside and within the study is paramount. I also suggest that the classification of MSGs might be based upon a set of observed physical characteristics within a single gesture, including size, duration, speed, plane and handedness, leading towards an alternative taxonomy for interpreting these data. Finally, evaluation of the application of gesture research in education and performance arenas is provided.
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Lang, Michael, Catherine Laing, Nancy Moules und Andrew Estefan. „Words, Camera, Music, Action: A Methodology of Digital Storytelling in a Health Care Setting“. International Journal of Qualitative Methods 18 (01.01.2019): 160940691986324. http://dx.doi.org/10.1177/1609406919863241.
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In this technological age, storytelling is moving from oral and written to digital formats, creating many methodological opportunities for researchers and practitioners. This article explores a specific genre of participatory media production, digital storytelling (DST), which could be a valuable research tool to describe, analyze, and understand the experiences of research participants. Digital stories (DS) are short movies that use images, videos, a voice-over, and various video editing techniques to share an important story from the participant’s life. In a health care setting, DS can be used as knowledge translation tools for education and advocacy, as data to be analyzed in the research process, or as a therapeutic intervention, in any combination, depending on the intent of the project. Although an increasing number of health-related research studies indicate using DST, or some variation of it, there is a glaring paucity of methodologically focused manuscripts in the health care literature. This article delineates and describes four primary phases of DST in a health care context as finding the story, telling the story, crafting the story, and sharing the story. Both the creative and technical considerations of DST facilitation are elucidated through specific examples and practical concepts. By drawing from diverse literature such as narratology, film, and psychotherapy, and exploring new creative tools and ideas to help research participants convey meaning, this article provides a starting point for qualitative researchers to explore the use of DST in their own contexts.
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Trinick, Robyn Margaret, und Dawn Joseph. „Challenging constraints or constraining challenges: Preservice primary music education across the Tasman“. Teachers' Work 14, Nr. 1 (19.09.2017): 50–68. http://dx.doi.org/10.24135/teacherswork.v14i1.103.
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Tertiary music educators are faced with challenges associated with the enactment of curricula in pre-service education courses within time constraints. As a result, considered choices need to be made regarding content and pedagogical approaches based on what they deem to be valuable, memorable and transferrable. Using narrative methodology, two tertiary educators across the Tasman share their views about what they prioritise in their music education courses and how these choices are informed. Both authors face similar challenges, and share the view that the teaching of music goes far beyond entertainment. They uphold that music education provides a rich context to develop not only knowledge, skills and understandings about music itself, but also to address social, cultural, linguistic, cognitive and affective domains of learning, to name a few. This article looks at some of the ways the authors effectively support beginner teachers to address the music components of their respective national curriculum statements. While constraints of time in teacher education programmes is not a new phenomenon, the intention of this article is to highlight the benefits of music education, and encourage other educators to critically reflect on choices made in their own teaching contexts under challenging constraints.
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Artashkina, Tamara A., und Nadezhda A. Tsareva. „Hermeneutics as a Methodology of the Post-Modern and Post-Post-Modern Eras“. Music Scholarship / Problemy Muzykal'noj Nauki, Nr. 3 (September 2018): 128–36. http://dx.doi.org/10.17674/1997-0854.2018.3.128-136.
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Forecka-Waśko, Katarzyna. „Złote czasy radia. Edukacyjne i wychowawcze funkcje radiowych audycji umuzykalniających“. Kultura-Społeczeństwo-Edukacja 10, Nr. 2 (15.12.2016): 215–30. http://dx.doi.org/10.14746/kse.2016.10.17.
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The article attempts to present the specificity of radio music broadcasts as a form of didactic method used while teaching children about music. The Polish Radio music broadcasts created by Maria Wieman from 1946 to 1976 were used as a research material. The author shows the historical background in which educational radio programmes were made in Poland. The state of kindergarten education after the war and the methodology of music education is also adressed. The paper attempts to present the reconstruction of the formation of music broadcasts for children based on the literature dedicated to the subject, recordings of the broadcasts, and radio documents. The author also wanted to present the profile of Maria Wieman, the brodcast creator. Her methodological and didactic achievements played a key role in forming the modern way of thinking about music education in kindergarten.
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Youm, Hyun Kyung. „Parents’ Goals, Knowledge, Practices, and Needs Regarding Music Education for Their Young Children in South Korea“. Journal of Research in Music Education 61, Nr. 3 (20.08.2013): 280–302. http://dx.doi.org/10.1177/0022429413497233.
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The purpose of this study was to explore South Korean parents’ understanding of and desires for music education for their children. Following a constructivist paradigm and qualitative research methodology, data collection involved in-depth interviews, observations, written questionnaires, family music materials, and the researcher’s journals. The participants were 22 South Korean mothers whose children (younger than 5 years old) attended music programs in the Seoul metropolitan area. Data were analyzed by coding, description, constant comparison, inductive analysis, contextualization, negative case analysis, classification, and interpretation. Analyses revealed that these parents’ goals for their children’s participation in music programs included facilitating the child’s development, enriching the child’s life, preparing for future learning, and providing opportunities to play through music. They described the music programs according to the activities they observed or experienced but did not show deeper understanding about a program’s philosophy or history. Family music practices indicated that the primary activities were singing, listening to music, playing instruments, and dancing/movement. Participants expressed the desire to learn music skills and knowledge not only for their children but also for themselves. The findings of this study demonstrate the necessity of education for parents of young children relating to various aspects of children’s music education.
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Mateos-Moreno, Daniel, und Mario Alcaraz-Iborra. „Grounded Theory as a methodology to design teaching strategies for historically informed musical performance“. Music Education Research 15, Nr. 2 (Juni 2013): 231–48. http://dx.doi.org/10.1080/14613808.2013.788139.
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Wang, Shuang. „Music, social media and public pedagogy: indie music in the post-Cantopop epoch“. Asian Education and Development Studies 7, Nr. 1 (02.01.2018): 42–52. http://dx.doi.org/10.1108/aeds-03-2017-0022.
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Purpose Hong Kong’s musical scene is rapidly changing along with the evolving media landscape. The purpose of this paper is to examine the new way of Cantopop production and dissemination in the new media ecosystem. Furthermore, this study calls for a reconceptualization of the process of Cantopop listening and sharing as a form of public pedagogy within the online public space. Design/methodology/approach Based on the investigation into two of the leading local indie bands Kolor and Supper Moment, this study explores the implications that social media and participatory culture have for these indie bands. In this study, the music content and promotion strategy of the two bands, as well as the role of their online audiences are studied. Findings Social media leads to more democratic cultural production and distribution. The strong online audience engagement serves as the foundation for the popularity of the two Cantopop indie bands. In their music practice, the lyrics appear to be in alignment with the goals and interests of the listeners, which gives rise to greater participation by its audiences through social media. Under the context of interactive internet culture, listening and sharing Cantopop can be seen as an educational force, thus reinforcing the values and attitudes. Originality/value While many important works have examined various aspects of Cantopop, little attention has been paid to the indie bands. This paper attempts to reveal the recent development of local indie bands as a site under the interactive internet culture. It also gives insights to the significant role of Cantopop played in public pedagogy.
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Wallerstedt, Cecilia. „Experiencing and creating contrasts in music“. International Journal for Lesson and Learning Studies 3, Nr. 1 (20.12.2013): 46–65. http://dx.doi.org/10.1108/ijlls-06-2013-0036.
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Purpose – The purpose of this paper is to examine what are necessary conditions for learning the concept ABA form, a concept for analysing and composing music, and to discuss how the use of variation theory can contribute to the field of music education research. Design/methodology/approach – The method used is a form of lesson study, but with only one participating teacher. Three cycles are conducted with three small groups of children, aged eight to nine years old. Findings – The main findings are that the learning of ABA form requires first, awareness of the sequential form of the music, second, that the attitude to differences that appear between sequential parts of the music is consciously being re-direct from seen as “failures” to being interesting musical contrasts and third, that attention is being paid to different features within one musical aspect, that sounds (not only looks) different. It is found that a main contribution of applying variation theory to studies in the domain of music is the consideration of a part-whole relationship. When the teacher helps the children to create contrast and at the same time keeps focus on how it sounds, the children succeed in coming up with a composition in ABA form. To address the simultaneous relationship between acting and seeing, that is musical impressions and expressions, is crucial for learning. Originality/value – This study is pioneering since music teaching is studied with the point of departure in an intended object of learning.
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Rahozina, V. V. „National education theory journal “Art and Education”: 20th anniversary“. Musical art in the educological discourse, Nr. 2 (2017): 51–53. http://dx.doi.org/10.28925/2518-766x.20172.5153.
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We present the national education theory journal “Art and Education”. The journal publishes materials on problems of the theory and history of art education, of the theory and methodology of education, and on methods of instruction in music, fine art and visual culture. We emphasize the uniqueness of this artisticpedagogical record, the only Ukrainian journal on art education, artistic and aesthetic development, one in which Ukrainian and foreign scientists and practical educators provide insight into the achievements of the pedagogy of art and the experience of art education in Ukraine and other countries of the world. We trace the stages of the journal’s development since its establishment and articulate its achievements over its 20-year existence.
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Cuadrado, Francisco. „Music and Talent: An experimental project for personal development and well-being through music“. International Journal of Music Education 37, Nr. 1 (05.09.2018): 156–74. http://dx.doi.org/10.1177/0255761418794720.
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“Music and Talent” is an educational project for children between 3 and 9 years old. The aim of the project is to use music and musical intelligence as resources for enhancing important skills in social and cognitive development. These skills are self-esteem, self-confidence, motivation, social and emotional relationships, and well-being. The first part of the article describes the project’s foundation, organization and developed activities. The second part of the article presents the results of two exploratory studies that have been carried out to evaluate some of the developed activities. Study 1 measured the impact of an active music language learning methodology on the “originality” dimension of creativity. A quasi-experimental design was adopted, with experimental and control groups tested pre and post the musical intervention. Findings show a statistically significant increase in the originality dimension in the experimental group. Study 2 measured the children’s self-efficacy in relation to their participation in the Music and Talent project, with positive results. An exploratory study was adopted as the research design, using a validated 10 steps Likert questionnaire with 15 items.
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Gavin, Russell B. „An Exploration of Potential Factors Affecting Student Withdrawal From an Undergraduate Music Education Program“. Journal of Research in Music Education 60, Nr. 3 (18.09.2012): 310–23. http://dx.doi.org/10.1177/0022429412454662.
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The purpose of this study was to examine the degree withdrawal patterns of undergraduate music education majors, with a specific focus on the individual experiences of students withdrawing from the major. Data from recently withdrawn students ( N = 14) were assembled using a qualitative methodology that included semistructured interviews, questionnaires, researcher journals, and meetings with experienced researchers. The data were analyzed and coded, generating a number of categories for discussion and analysis. Students’ experiences during college were diverse, with concerns focused on the applied music component of the degree surfacing as important to many students. The reasons given for withdrawal from the music education program also were diverse, including dismissal from the applied music studio, erosion of personal confidence as a musician, realizations about their feelings toward music versus their feelings about teaching in general as it related to their personal career goals, and personal life issues. Following withdrawal from the music education curriculum, all interviewed students reported that they remained actively involved in music in some way. Implications of these results are discussed in relation to individual experiences and the function of those experiences within the context of current models of student persistence.
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Hollingsworth, Claire, und Avis Ridgway. „From Seed to Song“. Departures in Critical Qualitative Research 3, Nr. 3 (2014): 314–35. http://dx.doi.org/10.1525/dcqr.2014.3.3.314.
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Increasingly researchers are trying to show how new technologies can be used to provide opportunities for creative and more expansive music education for young children. Accepting that young children’s capacity for self expression is vastly underestimated, two young students and I set about musicking through an example of collaborative songwriting. Drawing on case study methodology using digital visual and audio technology, I offer the reader and listener an experience of the affective dimensions involved in composing music with two preschool-aged children. I challenge preconceived notions of music pedagogies for young children, and provoke implications for generating far greater vitality, self expression, and imagination in music education.
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Carrión Candel, Elena, Mercedes Pérez Agustín und Elena Giménez De Ory. „ICT and gamification experiences with CLIL methodology as innovative resources for the development of competencies in compulsory secondary education“. Digital Education Review, Nr. 39 (30.06.2021): 238–56. http://dx.doi.org/10.1344/der.2021.39.238-256.
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Due to the lack of research in the field of music through CLIL and ICT in Secondary Education in Spain, we propose to merge this subject with an innovative methodology. The general objective is to present a different approach to students in order to increase their motivation for the subject. The specific objectives are to teach music in English by integrating content, cognition and vocabulary through communication and the use of new technologies. This approach makes the design and implementation didactic, audiovisual and multimedia. Cuadernia: digital notebook composed of flash files, videos and audios, and gamification strategies. Quizziz: multiplayer questionnaire of class contents, based on teaching music through a cooperative methodology and gamification, are applied as options with a great educational projection, with information and innovative pedagogical experiences and potential to work together in the classroom with different levels of the subject. The results that follow the Likert scale reflect high student satisfaction with regard to teaching methodology, content acquisition, teacher training, ICT and resources. As a conclusion, of the coincident results between the professor and the students, we would like to implement it in the coming years.
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Order, Simon. „‘ICreate’: Preliminary usability testing of apps for the music technology classroom“. Journal of University Teaching and Learning Practice 12, Nr. 4 (01.10.2015): 99–114. http://dx.doi.org/10.53761/1.12.4.8.
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In the world of music technology where, “music practice is challenged, mediated and redefined through performers’ and composers’ uses of ICT” (Savage, 2005, p. 168), curriculum change is necessary if the world of the classroom is to keep pace with the world outside (Cain, 2004, p. 219). For newcomers to music technology, the glittering array of increasingly sophisticated flashing, emulated, and modulated interfaces can invoke virtual interface dyslexia before giving way to options anxiety. Change is the only constant in the ever-evolving techno-scape of sound and music applications. This paper proposes that the development of an introductory tertiary music technology unit curriculum using loop-based music iPad apps may effectively engage non-traditional music (NTM) students in both music and technology. The course design was underpinned by two intentions. Firstly, the aim was to stimulate student creativity and secondly, to encourage immersion (focused attention) in sonic composition (Witmer & Singer, 1998). This paper reports on the preliminary usability testing of five loop-based music iPad applications. It is administered to a sample of one, namely the author, using the System Usability Scale (SUS) (Brooke, 1996) and is guided by the following questions: Would this testing methodology be appropriate? What factors specific to loop-based music app design might be pertinent for educators? Would this testing method indicate the potential for student immersion and creativity? While the pilot study, described here, is conducted solely by the researcher to determine the effectiveness of the method, future research intends the study to be administered to a small classroom group if determined appropriate.
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Becker, Kelly Mancini. „Beyond researcher as instrument“. Qualitative Research Journal 19, Nr. 4 (11.11.2019): 426–37. http://dx.doi.org/10.1108/qrj-02-2019-0021.
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Purpose The purpose of this paper is to explore the use of an arts-based methodology in conducting a doctoral study on The Nile Project, an East African based musical collective. Despite some evidence that music is an effective tool for qualitative inquiry, there are few studies on its use, especially the use of musicking in the interview process. Design/methodology/approach The author used a qualitative and arts-based research approach. Findings Outcomes suggest that music may help to create an “in-between” space challenging researcher positionality and giving voice to the “researched.” Music also acted as a bridging agent encouraging open and honest dialogue and relationship building. Research limitations/implications Findings suggest that music may be a useful tool for researchers interested in arts-based and participatory methods in qualitative research particularly when interviewing participants with varied linguistic, cultural, political and musical backgrounds. Originality/value There is sparse research on the use of musicking in the interview process of qualitative research.
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Alkon, Elena M. „Classification of Mode Archetypes and Modern Problems of Music Education“. Musical Art and Education 7, Nr. 2 (2019): 77–95. http://dx.doi.org/10.31862/2309-1428-2019-7-2-77-95.
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Modern problems of musical education are connected with the search for new and more efficient approaches considering the challenges of our time. One of such challenges is unprecedented in history of culture music stream falling upon the modern human. The relict musical mode archetypes, on the basis of which the music of the peoples of the world has been formed for centuries, and which nourish the creativity of the professionals, could be considered as ecologically friendly “musical products”. In this article, following a number of the range of previous publications, the author offers a new classification of mode archetypes based on previously designed principle of asymmetry/symmetry supplemented with several novel approaches. This classification obviously cannot cover all existing mode archetypes of music of people of the world, but definitely addresses their considerable part. Several tables with index-based ordering the most common mode archetypes are considered to be especially significant result of this paper. The author hopes that this method of designation will contribute to the development of a methodology for the analysis of the behavior of mode archetypes in various melodic contexts. The “Solveig’s Song” by E. Grieg is regarded as one of the most famous melodies, in which the musical mode archetype of Norwegian folk music occupies an important place.
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Vilkelienė, Aldona, und Eglė Kondrotienė. „Music Activity as a Communication Tool for Young Autistic Adolescents“. Pedagogika 117, Nr. 1 (05.03.2015): 185–97. http://dx.doi.org/10.15823/p.2015.077.
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Music and its influence on personality was for a long time under research and still is contextualized. The task of this work was to disclose possibilities of various music activities and to find out their positive influence for young autistic adolescents’ communication and interaction activities. It was also very important to find the answer to the question, if music interaction is possible for autistics as this disorder prevent ability to communicate and to get into contact with other people. Theoretical part of this piecework deals with the reasons for autistic disorder, manifestations of autism and specifics of communication. Also, here are presented approaches of view of different authors what concerns the music and various music activities in the context of musical methods. On the basis of this theoretical context was executed empirical research with autistic people where, according to the chosen music and usage of it’s methodology, was formulated task to try to reach (cultivate) social communication and socialization capabilities.
Empirical research revealed that for young autistic adolescents the most stimulating music activities are music activities: improvisation, singing, also listening to music and movement. Music activities revealed interpersonal relation between young autistic adolescent and pedagogue through more active eye contact; young autistic adolescents started more actively communicate with gestures and body language. Empirical research also displayed that the right choice of the musical method is directly related with the process of education and ensure its success. Also, it was proved that the success of the development of disabled people with communication disorders greatly depends on teamwork, – cooperation among young autistic adolescents, their parents, special educators and social workers. This teamwork cooperation helps to develop communication and cooperation abilities. Research results show that music activities could be (can be) natural process of communication and affiliation for young autistic adolescents.
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Zavadska, Galina, und Jelena Davidova. „The Development of Prospective Music Teachers’ Harmonic Hearing at Higher Education Establishments“. Pedagogika 117, Nr. 1 (05.03.2015): 72–85. http://dx.doi.org/10.15823/p.2015.068.
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The development of harmonic hearing is an essential component of the system of music teachers’ training. The paper is concerned with the type of a case study which deals with the study of professional groups (a bigger and more diffusive group of 14 students). The process of training music teachers at sol-fa classes in a higher education establishment is analyzed and described. The sol-fa classes are oriented towards the development of harmonic hearing.
The purpose of the study is to develop a technology of conducting sol-fa classes oriented towards developing students’ – the prospective music teachers’ – harmonic hearing on the basis of a case-study methodology; to present the developed material and ways of its application in the training process; to analyze and summarize the results of the research done.
The research results show that the criteria relating to practical music making of students, such as polyphonic singing and intoning intervals and chords, and also those relating to creativeness, such as improvisation and composing the accompaniment for the melody, have been the most effective ones.
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Stringham, David A., und Alden H. Snell. „“CONSIDERABLE STRESS and MISERY”: A first-year music teacher’s experiences“. Research Studies in Music Education 41, Nr. 1 (18.06.2018): 81–98. http://dx.doi.org/10.1177/1321103x18773100.
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Preparing, inducting, mentoring, and retaining new music teachers remain concerns in our profession. This article began as a study of first-year music teachers who made regular entries in secure electronic journals and participated in mid- and end-of-year interviews. We initially sought to understand these new teachers’ experiences related to mentoring, professional development, collaboration, and standards-based instruction. Findings related to these topics were eclipsed, however, by challenging experiences that Elise, a first-year instrumental music teacher who participated in our study, reported. We used a narrative inquiry methodology to present Elise’s experiences in context of literature related to workplace incivility, gender, hierarchical structures, and emphasis on performance in instrumental music education. Based on findings, we offer recommendations for future research related to four stakeholder groups: pre-service teachers, early career in-service teachers, experienced in-service teachers, and administrators.
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Eunjoo Yang und 오승근. „Application of a Project-Based Methodology for Practical Education: Focused on the Popular Music Learning“. journal of Ewha Music Research Institute 19, Nr. 3 (Dezember 2015): 71–92. http://dx.doi.org/10.17254/jemri.2015.19.3.003.
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Johnson, Melissa A., Heather Coles, Laurie Keough, Betsey King und Melissa Reed. „Co-Delivered Integrative Music and Language Therapy: Positive Outcomes Through Music Therapy and Speech-Language Pathology Collaboration“. Perspectives of the ASHA Special Interest Groups 4, Nr. 2 (15.04.2019): 261–68. http://dx.doi.org/10.1044/2019_pers-sig2-2018-0006.
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Purpose Persons with aphasia can sometimes retain the ability to sing, and several studies have shown the effectiveness of using music to improve speech and language output. The purposes of this article were to discuss the theoretical principles and observed speech-language outcomes of a co-delivered integrative music and language therapy (CIMaLT) methodology for adults with chronic aphasia in a college-based clinic, to describe the interprofessional clinical education model used at the clinic, and to present a case example of CIMaLT implementation. Conclusion CIMaLT is an effective and feasible methodology to implement interprofessional education and practice in a college-based clinic. Additionally, it results in meaningful change in speech and language for some clients with aphasia and apraxia. Additional research is needed to further explore its outcomes for students and persons with aphasia and other neurogenic communication impairments at various stages of recovery. Plain Language Summary Persons with aphasia can sometimes retain the ability to sing, which can help improve speech and language function. Music and speech-language pathology students from our college-based clinic work together to provide treatment for persons with aphasia. This results in improvements in both student learning and client speech and language. This article describes the theory approach, and client and student outcomes of this treatment.
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Verney, John P. „The Integrated Instrumental Teacher: Learning to Play Through Performance, Listening and Composition“. British Journal of Music Education 8, Nr. 3 (November 1991): 245–69. http://dx.doi.org/10.1017/s0265051700008500.
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This article is written to show that composition can become an integral part of an instrumental teacher's methodology. Current musical education in schools in England and Wales is trying to give children a broad understanding of what music can contribute to the lives of all - listeners and performers. The starting point for this is composition. If instrumental teachers can introduce children to this discipline along with the disciplines of instrumental technique and a love of performing, we can create true, well-balanced musicians.Through this approach it is possible that we can develop an integrated music curriculum that joins together the expertise of the classroom music teacher and the instrumental teacher, with resulting benefits to children, who can then see that music is not divided between the creative classroom and the re-creative instrumental and performing worlds.
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Bolívar-Chávez, Oscar-Elías, Joaquín Paredes-Labra, Yury-Vladimir Palma-García und Yessenia-Anabel Mendieta-Torres. „Educational Technologies and Their Application to Music Education: An Action-Research Study in an Ecuadorian University“. Mathematics 9, Nr. 4 (20.02.2021): 412. http://dx.doi.org/10.3390/math9040412.
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Information and Communication Technologies (ICT) are tools that are part of the process of teaching and learning music. These didactic/pedagogical resources are widely used by teachers. They strengthen, motivate, and increase the student’s interest in learning. This study is an action-research (AR). It involves 12 teachers and 68 students in the subject of music education in an Ecuadorian university. A Holistic and Technological Model of Music Education (HTMME) was generated. The performance of the plan was evaluated by means of an original questionnaire and qualitative work. The AR procedure involved an analysis of data at the end of each implementation cycle. The appreciation of the new model was very positive. With the methodology implemented, new teaching experiences and relevant learning for students were achieved. Learning music with ICT induces creative-musical processes in students.
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Gruber, Hubert. „Lesson study with music: a new way to expand the dialogic space of learning and teaching“. International Journal for Lesson and Learning Studies 8, Nr. 4 (03.10.2019): 272–89. http://dx.doi.org/10.1108/ijlls-03-2019-0019.
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Purpose The purpose of this paper is to show that lesson study by including elements from music and music education can sustainably expand and improve the dialogical space for teaching and learning in higher education, especially for primary and secondary teacher education students. Design/methodology/approach For the first time under the topic “Lesson Study: Music in Dialogue,” corresponding study programs were prepared at the University College of Teacher Education, Lower Austria. The data material from which answers to research questions can be generated are the “Didactic Design Pattern” and classical research lesson planning, observation and discussion instruments. Moreover, discussion protocols of the reflection meetings offered insights the participants gained through sharing their experience of a series of lesson study cycles including focussed collaboration between mentors, teachers, teacher education students and primary school pupils. Findings Within the lesson study groups, the space for cooperation and dialogue widened considerably and the interest in the work and expertise of each other increased. Based on the principles of a “community of practice,” this study shows the positive effects of professional collaboration on primary and secondary teacher education students and a lasting impact on their pupils’ learning. Thereby, the dialogical principle was found to play a central and important role. In connection with music- and art-related processes, previous limitations in teaching and learning with music can be exceeded for pupils, teacher education students and teachers. Research limitations/implications This study, therefore, provides new insights into questions of organization and implementation, as well as scientific and didactic support in professional learning communities. Originality/value So far, there has been little practitioner research through lesson study in the field of music education. In particular, lesson study enhancing the cooperation between music education and other subject areas through dialogical-integrative work has brought about knowledge and insights of great importance for the further development of an appropriate didactic approach in dialogic music education.
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Dolski, Tomasz. „Music Education in Training Early Childhood Education Teachers in the Context of Jerome Bruner’s System of Representations. Its Purpose and Teaching Methodology Modification for Remote Work“. Edukacja Muzyczna 15 (2020): 263–77. http://dx.doi.org/10.16926/em.2020.15.18.
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The article consists of two parts. The first presents the implications for training early childhood music education teachers which arise from the theory of developmental psychology concerning Jerome Bruner’s system of representations. The author strives to point out that their proper understanding appears to be essential to building a good teaching foundation for working with early childhood education students. With reference to the theory in question, the second part of the article discusses a modification of selected methods of conducting music education at the indicated stage of education in relation to the challenges connected with the necessity to work remotely. The author discusses examples of methodology in detail and suggests modifications. The aim of such treatment of the matter is to demonstrate that it is possible to retain the practical nature of educational efforts in spite of the unfavourable conditions that stem from the need to be isolated and work online.
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Garvis, Susanne, und Donna Pendergast. „Storying music and the arts education: the generalist teacher voice“. British Journal of Music Education 29, Nr. 1 (21.02.2012): 107–23. http://dx.doi.org/10.1017/s0265051711000386.
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For students in Years 1–10 in Queensland, Australia, The Arts (hereafter referred to as ‘arts’) is one of eight Key Learning Areas in the core curriculum. Yet, while arts – comprising five strands including music – is a mandatory component of the curriculum, implementation varies widely. This occurs for a range of reasons, one of which is the common practice that generalist teachers are allocated delivery of the arts programme in their teaching load. Furthermore, research reveals that music and the arts are frequently considered to be the ‘frills subject’ in a school's timetable, often the first to be removed from the timetable when time is short and the first to feel the impact of budget cuts, including the engagement of specialist arts educators (Russell-Bowie, 2004). This study highlights the gap between policy rhetoric for music and the arts and the pedagogical reality in generalist classrooms. Using a narrative informed case study methodology, a story constellation derived from a beginning generalist teacher and a school principal is revealed. The discussion which follows provides a focus, through the generation of key values statements derived from the data, on the tensions this beginning teacher has experienced in his practice as a teacher responsible for teaching music and the arts, juxtaposed with a similar narrative of the school principal.
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Kondratyev, Mikhail G. „About the Theory of National Music: Towards a Methodology of Comparative Study of Musical and Poetic Folklore Systems“. Music Scholarship / Problemy Muzykal'noj Nauki, Nr. 4 (Dezember 2020): 8–19. http://dx.doi.org/10.33779/2587-6341.2020.4.008-019.
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