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Journal articles on the topic 'Music curriculum'

Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2022

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1

Müezzinoğlu, Alev, and Başak Gorgoretti. "THE NEW MUSIC CURRICULUM WITH A NEW MUSIC EDUCATION CONCEPT." E-journal of New World Sciences Academy 14, no. 3 (July 22, 2019): 247–53. http://dx.doi.org/10.12739/nwsa.2019.14.3.d0242.

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de Lowerntal, Elizabeth. "Curricular Innovations in Traditional Music: A Case Study of Zimbabwean Music Teacher Education." British Journal of Music Education 15, no. 2 (July 1998): 171–80. http://dx.doi.org/10.1017/s0265051700009323.

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The attainment of Zimbabwean independence in 1980 resulted in a variety of pressures on the curriculum for the education of music teachers. These pressures included dissatisfaction with the Eurocentric bias of the existing curriculum and demands for shifting the bias of education towards the promotion of previously marginalised aspects of Zimbabwean culture. This paper outlines the effects of these pressures on curricular innovations in Zimbabwean traditional music at Hillside Teachers' College, Bulawayo, and explores the possibilities for the future development of traditional music curriculum.

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Prendergast, Jocelyn Stevens, and Brittany Nixon May. "Curriculum reform and policy considerations: A multiple case study of the inclusion of modern band into music teacher preparation programmes." Journal of Popular Music Education 4, no. 1 (March 1, 2020): 21–40. http://dx.doi.org/10.1386/jpme_00012_1.

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Many music teacher education programmes in the United States are increasingly offering classes that fall within the scope of modern band. A number of policies impact music teacher education curricula in the United States. These include both hard policies, such as teacher certification and NASM accreditation requirements, as well as soft policies, such as institutional traditions. In this multiple case study, the researchers interviewed three music teacher educators from different universities to examine their individual experiences incorporating modern band into their music education curricula and identify any policy issues that arose as they proposed and instituted curricular changes. The themes identified with regard to implementing modern band into the music teacher education curriculum included time, support, curricular positioning, equity and access. Notably, the participants did not cite any specific policy issues as barriers to implementing modern band into music education coursework.

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Sukmayadi, Yudi. "Musik Kontemporer dalam Kurikulum dan Buku Sekolah di Jerman." Resital: Jurnal Seni Pertunjukan 15, no. 2 (December 1, 2014): 169–78. http://dx.doi.org/10.24821/resital.v15i2.851.

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Tulisan ini menyajikan tentang posisi musik kontemporer dalam kurikulum dan buku sekolah di Jerman. Hal yang dibahas adalah pemilihan materi musik kontemporer untuk setiap kelas, jenis musik kontemporer yang dibahas, serta metode didaktis yang diterapkan. Berdasarkan analisis dapat disimpulkan bahwa melalui pelajaran musik kontemporer, siswa tidak hanya mempelajari hal musikal, namun juga mempelajari masalah kontekstualnya di masyarakat, termasuk di dalamnya masalah musik kontemporer dan perkembangan teknologi. Contemporary Music in German Curriculum and Schoolbooks. This study presents the position of contemporary music in German curriculum and schoolbooks in Germany. This study discusses how to select contemporary music materials for every class, kinds of contemporary music, and how the didactic concepts are applied. This study also discusses how, through contemporary music, the students are introduced to contextual problems in society, including the issue of contemporary music and technology development.

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Wright, Ruth. "A Holistic Approach to Music Education." British Journal of Music Education 15, no. 1 (July 1996): 71–81. http://dx.doi.org/10.1017/s0265051700003776.

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This paper originates from a research project investigating the effects of a ‘holistic’ approach to music education in the secondary school. It is based upon a case study involving the work of one secondary school music department where a ‘holistic’ approach to the music programme is adopted in that the work in the curriculum at Key Stages 3 and 4 is used as the basis for extended curricular work. It is concluded that the holistic approach offers an interesting and in many ways educationally beneficial alternative to the more traditional separatist approach to the curriculum and extended curriculum.

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Kwami, Robert. "Music education in Ghana and Nigeria: a brief survey." Africa 64, no. 4 (October 1994): 544–60. http://dx.doi.org/10.2307/1161373.

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This brief historical survey of music education in Ghana and Nigeria encompasses three periods—the pre-colonial, colonial and post-colonial eras. Its main aim is to search for explanations of an apparent dichotomy between African and Western musics in the curricula of schools in both countries. It shows that, during the pre-colonial and colonial eras, some missionaries, colonial administrators and teachers encouraged the use of indigenous musics in the formal, Western, education systems, whilst, in the post-colonial period, initiatives to include more indigenous African musics have put some pressure at lower levels of the curriculum. Consequently, it may be necessary to reassess the content, methods and resources of music education in both countries.

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Livingston, Carolyn. "Charles Faulkner Bryan's Legacy for General Music." Journal of Research in Music Education 46, no. 2 (July 1998): 223–38. http://dx.doi.org/10.2307/3345625.

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Charles Faulkner Bryan (1911-1955), music educator and ethnomusicologist, was best known as a composer who was influenced by Appalachian folk music. This study focuses on his ideas about general music and the qualities of exemplary music teachers. Bryans own general music curriculum and his teaching attributes are also examined. Bryan believed in solid planning for instruction and maintained that the general music curriculum should be eclectic, experiential, community-oriented, founded on local culture and student interests, and include both vernacular and art music. Bryan valued adaptability, resourcefulness, and creativity in music educators. He believed that a teacher should demonstrate thorough musical knowledge, strong technical skill, an attractive personality, good work habits, and positive attitudes. By all accounts, he displayed these qualities in his own teaching. Bryan designed and taught a general music course that included multicultural music and curriculum integration. His work may have influenced present practices and curricula.

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Kwami, Robert. "Non-Western Musics in Education: Problems and Possibilities." British Journal of Music Education 15, no. 2 (July 1998): 161–70. http://dx.doi.org/10.1017/s0265051700009311.

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The recent explosion in ‘world musics’ can be seen as a positive element for music education; but a failure to adopt a well-grounded and consensual approach in British educational institutions may well signal problems for the future of music as a curriculum subject. This paper problematises the use of non- Western musics in schools and colleges, it recognises the need for a more thorough conceptual stance and a reappraisal of the music curriculum and, among a number of options, suggests an anti-racist and intercultural perspective as a possible way forward.

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Conway, Colleen. "Curriculum Writing in Music." Music Educators Journal 88, no. 6 (May 2002): 54. http://dx.doi.org/10.2307/3399806.

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Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916." Journal of Research in Music Education 42, no. 4 (December 1994): 285–305. http://dx.doi.org/10.2307/3345737.

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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music appreciation classes. Also during this period, some of the musics of Native Americans and African Americans were introduced into the music curriculum. Including these folk musics in the American school music curriculum resulted in an increased musical diversity that perhaps marked the beginnings of multicultural music education in the public schools.

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Major, Angela. "Refraining curriculum design." British Journal of Music Education 13, no. 3 (November 1996): 183–93. http://dx.doi.org/10.1017/s0265051700003223.

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Many music teachers in Secondary Schools, when designing schemes of work, use music elements, concepts and musical devices as a focus for choosing holistic practical activities. The idea behind such a practice appears to be to enable pupils to understand more clearly these concepts through reinforcement in listening and performing activities and through the application of the device to their composing tasks. While still retaining an important place in the curriculum for concepts/music elements, it is suggested that curriculum schemes might be built around the mastery of a wide range of skills. A new way of thinking about curriculum design in music is sought, to enable a more effective musical experience for pupils.

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Carroll, Christine. "‘Illiterate’ musicians: an historic review of curriculum and practice for student popular musicians in Australian senior secondary classrooms." British Journal of Music Education 36, no. 02 (July 2019): 155–71. http://dx.doi.org/10.1017/s0265051719000196.

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AbstractThis article examines curriculum and practice in Australian secondary classroom music education, in order to trace the inclusion of, and provision for, students with learning orientations based on popular music forms. A 60-year period of curriculum reform, matriculation statistics and literature is surveyed with a focus on the state of New South Wales (NSW), where the ‘non-literate’ student musician was first acknowledged in curriculum documents dating from the late 1970s at the senior secondary level (Music Syllabus Year 11 and 12: New 2 Unit A Course. Draft Document). Three overlapping eras frame discussion. The first discusses the original post–World War II school curriculum established for Western art music (WAM); the second discusses the period of curriculum reform beginning in the 1960s and 1970s, which leads to the inclusion of popular music at junior secondary levels; and the third is the present era from roughly 1980 onwards, where separate pathways of instruction are maintained for WAM and students with interests in popular and contemporary musics. Legitimation Code Theory (LCT) from the sociology of education is employed, with analysis unveiling a series of historic code shifts and clashes with implications for present practice. An unveiling of these codes explains the cause of ongoing tensions surrounding the inclusion of popular music and musicians in Australian music classrooms and provides foundation for much-needed curriculum development in the NSW context, and potentially elsewhere, where similar dynamics underpin practice in secondary classrooms.

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Gifford, Edward F. "An Australian Rationale for Music Education Revisited: A Discussion on the Role of Music in the Curriculum." British Journal of Music Education 5, no. 2 (July 1988): 115–40. http://dx.doi.org/10.1017/s0265051700006471.

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One of the outcomes of the National Music Administrators' Conference held in Brisbane, Australia, in 1980 was a ‘Rationale for Music Education’ in Australian schools. This paper uses this Rationale as a stimulus for the discussion of the role of music in the curriculum. The issues raised here are neither new nor distinctively Australian. However, an attempt has been made to evaluate critically what Eisner would categorise as the ‘contexturalist’ and ‘essentialist’ justification for music in education. In an age of accountability and timetable restraints, teachers and administrators must explain their curricula to different audiences. Therefore, the ability to justify music in the curriculum must become part of the teacher's professional equipment.

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Gardiner, Paula, and Rachel Kilby. "Music is music? Striking the balance in music education in Wales." Journal of Popular Music Education 5, no. 1 (April 1, 2021): 39–54. http://dx.doi.org/10.1386/jpme_00042_1.

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Through the examination of past and current practice, survey and interview, this article discusses how music from the widest parameters may be included in mainstream education in Wales. In 2014, the Welsh Government commissioned Professor Graham Donaldson to review the curriculum and assessment arrangements in schools in Wales. The outcome, Successful Futures: Independent Review of Curriculum and Assessment Arrangements in Wales (2015), was adopted by the Welsh Government for implementation by 2021. This new curriculum and its approach to learning and teaching offers the opportunity to re-examine the provision of music in schools, outlining a significant shift from ‘…“learning about” to “learning to” with a growing skills focus and an emphasis on application and development of higher-order skills, particularly creativity (entrepreneurship) and digital literacy’ (Donaldson 2015: 18). This vision requires exploration and engagement in a greater diversity of music.

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Abril, Johanna E. "The state of music education in the basic general public schools of Ecuador: The administrators’ perspective." International Journal of Music Education 37, no. 3 (April 17, 2019): 370–89. http://dx.doi.org/10.1177/0255761419842415.

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This study examines the state of music education in the public schools of Ecuador from the perspective of school administrators. A survey that was distributed to 1800 school administrators (27.4% response rate) was used to answer the following research questions: What are administrators’ perceptions of the current national policies for arts education? What are administrators’ perceptions of the current state of the music curriculum? Is there a difference between administrators’ perceptions of current and ideal states? What are administrators’ perceptions of the degree to which numerous variables impact on the music curriculum in their schools? What are the obstacles and challenges that administrators’ face in supporting the music curriculum? Are there differences by political zone in the ways administrators implement policies and oversee arts education instruction in their schools? Findings show that despite the creation of a national curriculum for arts, there is limited access to music. Moreover, there is a generalized lack of familiarity with policy and curricular implementation, especially among administrators who do have music. Despite this, significant differences between current and ideal conditions showed that administrators believe improvement is possible. The administrators also indicated budget and lack of music teachers were factors that had a negative impact on their music programs.

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Elliott, David J. "Consciousness, culture and curriculum." International Journal of Music Education os-28, no. 1 (November 1996): 1–15. http://dx.doi.org/10.1177/025576149602800101.

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Contemporary views of human consciousness illuminate many aspects of music education. In this paper the cultural nature of consciousness is linked to issues of music curriculum development, multiculturalism, and musical values. In doing so, the claims made by David Aspin in the International Journal of Music Education, 27, 1996 are also engaged.

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Isbell, Dan. "Popular Music and the Public School Music Curriculum." Update: Applications of Research in Music Education 26, no. 1 (November 2007): 53–63. http://dx.doi.org/10.1177/87551233070260010106.

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Lounsbury, John H. "Music Universal Language, Universal Curriculum?" Music Educators Journal 78, no. 6 (February 1992): 42–44. http://dx.doi.org/10.2307/3398382.

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McCarthy, Marie. "Dance in the Music Curriculum." Music Educators Journal 82, no. 6 (May 1996): 17–21. http://dx.doi.org/10.2307/3398946.

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Wiggins, Robert A. "Interdisciplinary Curriculum: Music Educator Concerns." Music Educators Journal 87, no. 5 (March 2001): 40. http://dx.doi.org/10.2307/3399707.

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21

ROSS, MALCOLM. "National Curriculum Art and Music." Journal of Art & Design Education 14, no. 3 (October 1995): 271–76. http://dx.doi.org/10.1111/j.1476-8070.1995.tb00634.x.

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22

Hoad, Elizabeth. "Music across the curriculum: Literacy." Primary Teacher Update 2012, no. 13 (October 2012): 32–34. http://dx.doi.org/10.12968/prtu.2012.1.13.32.

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Hoad, Elizabeth. "Music across the curriculum: Maths." Primary Teacher Update 2012, no. 14 (November 2012): 26–28. http://dx.doi.org/10.12968/prtu.2012.1.14.26.

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Hoad, Elizabeth. "Music across the curriculum: History." Primary Teacher Update 2012, no. 15 (December 2012): 32–33. http://dx.doi.org/10.12968/prtu.2012.1.15.32.

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Hoad, Elizabeth. "Music across the curriculum: Geography." Primary Teacher Update 2013, no. 16 (January 2013): 32–33. http://dx.doi.org/10.12968/prtu.2013.1.16.32.

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Hoad, Elizabeth. "Music across the curriculum: PSHE." Primary Teacher Update 2013, no. 17 (February 2013): 28–29. http://dx.doi.org/10.12968/prtu.2013.1.17.28.

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Hoad, Elizabeth. "Music across the curriculum: MFL." Primary Teacher Update 2013, no. 19 (April 2013): 32–33. http://dx.doi.org/10.12968/prtu.2013.1.19.32.

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Parker, Olin. "Music in the Curriculum — Why?" International Journal of Music Education os-16, no. 1 (November 1990): 23–31. http://dx.doi.org/10.1177/025576149001600103.

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Locke, Terry, and Lauren Prentice. "Facing the Indigenous ‘Other’: Culturally Responsive Research and Pedagogy in Music Education." Australian Journal of Indigenous Education 45, no. 2 (May 5, 2016): 139–51. http://dx.doi.org/10.1017/jie.2016.1.

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This narrative article is based on an analysis of 61 documents, mostly articles, of which 37 were peer-reviewed, including research studies, reviews, conceptual research and narratives of practice. Review findings are reported with specific reference to the Australian and New Zealand contexts in relation to the following topic categories: the presence of indigenous music in the curriculums of selected ‘new world’ countries, teacher education in indigenous performing arts, questions of curriculum design and programming, resource selection, activity design, and school and community relationships. Certain key themes emerged across these topics: the need for a greater emphasis on more culturally nuanced music teacher education in relation to indigenous musics; the critical importance of teaching indigenous music/arts contexts; song ownership; and the need for music educators and researchers to develop a critical stance towards their subject and discipline.

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Cant, Stephanie. "Women Composers and the Music Curriculum." British Journal of Music Education 7, no. 1 (March 1990): 5–13. http://dx.doi.org/10.1017/s0265051700007476.

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Despite the long-established move towards the inclusion of composition as an element of music in schools, many teachers continue to be wary of it. Lack of confidence amongst women music teachers in their own abilities as composers may be a key to this situation. It is suggested that this arises as a result of rarely seeing music by women composers played and studied with the same attention afforded to music written by men. The popular mythology that only men have the ability to compose is challenged, and an argument is made for the inclusion of music by women composers (past and present) in the curriculum of schools and colleges. Practical suggestions are made as to how this can be achieved despite the current lack of resources.

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Kwami, Robert. "A West African Folktale in the Classroom." British Journal of Music Education 3, no. 1 (March 1986): 5–18. http://dx.doi.org/10.1017/s026505170000509x.

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The author describes an investigation into the use of West African folklore in the school curriculum by means of an African folktale which became the basis for a project in the class music lessons. Starting with research into West African folklore, particularly children's stories and songs, in Ghana and Nigeria between 1979 and 1983, music was composed in a basically African style to go with an adaptation of one of the stories.The practical work in a London primary school investigated ways of minimising the apparent dichotomy between African and Western musics in the curriculum.

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Bennett, Dawn, Sally Macarthur, Cat Hope, Talisha Goh, and Sophie Hennekam. "Creating a career as a woman composer: Implications for music in higher education." British Journal of Music Education 35, no. 3 (June 13, 2018): 237–53. http://dx.doi.org/10.1017/s0265051718000104.

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Recent decades have seen gender and feminist research emerge as major fields of enquiry in musicology and to a far lesser extent, music education. While these fields have increased awareness of the issues confronting women and other marginalised groups, the pedagogical practices and curricular design that might support aspiring women composers are in urgent need of attention. This article reports from an international survey of women composers (n=225), who in western art music continue to experience a masculine bias that has its roots in the past. The findings in the survey were focused on income, work and learning, relationships and networks, and gender. Numerous composers surveyed noted the under-representation of music composed by women in their higher education curricula. They also described their unpreparedness for a career in music. The article explores the issue of gender in music composition and makes practical recommendations for a more gender balanced music curriculum in higher education.

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Forari, Antonia. "Making sense of music education policy." British Journal of Music Education 24, no. 2 (July 2007): 135–46. http://dx.doi.org/10.1017/s0265051707007395.

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This article looks at the way music education policy is realised in three curriculum contexts: the formation of the official music curriculum, its implementation by music teachers and its reception by students. Working from within the field of education policy studies, I have collected data on music education in Cyprus in order to explore what music teachers and students might expect from a music curriculum and have compared this with what the official music curriculum actually prescribes. The findings constitute distinct sets of educational ideologies and indicate areas of fragmentation between the three contexts. I discuss some implications and make suggestions for conceptualising music education policy. I conclude that music education policy needs to be construed as a polydynamic process which is polyglot, polycentric and polymorphic in its nature.

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Garnett, James. "Beyond a constructivist curriculum: a critique of competing paradigms in music education." British Journal of Music Education 30, no. 2 (January 24, 2013): 161–75. http://dx.doi.org/10.1017/s0265051712000575.

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The distinction between learning to perform on an instrument or voice and learning music in a wider sense is one that is made in many countries, and is especially pertinent in England in the context of recent policy developments. This article argues that, whilst this distinction has come to represent curricula based on the opposing paradigms of behaviourist and constructivist approaches to learning, this opposition does not necessarily extend to the pedagogy through which the curricula are taught. A case study of the National Curriculum in England highlights the characteristics of a curriculum based on constructivist principles, along with the impact this has when taught in a behaviourist way. It is argued that conceiving the curriculum in terms of musical competencies, and pedagogy in terms of musical understanding, would provide a basis for greater continuity and higher quality in the music education experienced by young people.

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Guderian, Lois Veenhoven. "Music Improvisation and Composition in the General Music Curriculum." General Music Today 25, no. 3 (July 27, 2011): 6–14. http://dx.doi.org/10.1177/1048371311415404.

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Draper, Ellary A. "Creating a Meaningful Music Curriculum for Students With Disabilities." General Music Today 33, no. 1 (July 23, 2019): 47–49. http://dx.doi.org/10.1177/1048371319863792.

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When teaching students with disabilities, it is important for music teachers to consider the functionality of the skills taught and learned beyond the music classroom. In special education, a curriculum centered on the life-long skills important for students to be independent in their communities is called a “functional curriculum.” Before considering how to adapt a traditional curriculum for students with disabilities, music teachers can used the ideas based in functional curriculum to develop a functional music curriculum, ensuring that both students with and without disabilities are learning the skills to engage in life-long music experiences.

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Gage, Nathan, Bronwen Low, and Francisco Luis Reyes. "Listen to the tastemakers: Building an urban arts high school music curriculum." Research Studies in Music Education 42, no. 1 (June 29, 2019): 19–36. http://dx.doi.org/10.1177/1321103x19837758.

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In partnership with academics from McGill University and community arts partners, a high school in Montreal faced with significant challenges became an “urban arts school,” offering music and visual art programs centered in youth culture, as well as integrating arts into several academic subjects. The initiative was inspired by the school’s popular extra-curricular activities, which included a Hip Hop literacy club that ran beat making and rap writing workshops. Considering the popularity of these activities, the school decided to offer a music education program focused on musical skills through real-life music making activities that resemble those employed by popular musicians. This article chronicles the development of this music education program from the perspective of the music teacher, including the experience of continual adaptation to the needs and interests of students. The program is one of the first to combine Musical Futures, an approach to music education that promotes the combination of non-formal music teaching, informal music learning, and students’ interest in a formal school setting, with Hip Hop Based Music Education, predominantly located in community settings. This case study showed that students benefited from having an open-minded and committed educator with experience in popular musics. The co-teaching by professional Hip Hop artists also supported student progress and engagement by adding authenticity to the music making process. Furthermore, the alignment of the music program with the general school ethos contributed to its success. The paper also highlights the need to balance the development of musical skills with student engagement, and the informal music learning philosophy of Musical Futures with direct instruction associated with formal school settings.

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Weidner, Brian N. "Content Area Literacy in Ensemble Music Education: The Before-During-After Instructional Framework." Journal of Music Teacher Education 27, no. 3 (September 27, 2017): 10–23. http://dx.doi.org/10.1177/1057083717732512.

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Teacher licensure policies and state standards for English/language arts have made content area literacy a necessary component for most music teacher education programs. Unlike teachers in other areas of the school curriculum, music educators have not broadly integrated literacy into their instructional practices. The Before-During-After (B-D-A) instructional framework is commonly used in content area literacy and provides a powerful tool for promoting student critical thinking and metacognitive awareness. B-D-A is supported by content area literacy strategies that can be used across the curriculum, and music educators can use them to encourage student engagement with authentic music texts by focusing on the artistic processes of responding and connecting. Adoption of content area literacy and B-D-A into music ensemble methods coursework can aid preservice and in-service music teachers as they engage students in music learning, support cross-curricular collaboration and professional development, and promote overall student literacy.

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Barrett, Janet Revell. "Policy at the Intersection of Curriculum and Music Teacher Agency." Music Educators Journal 107, no. 1 (September 2020): 37–42. http://dx.doi.org/10.1177/0027432120939646.

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Music teachers seek imaginative openings to expand the reach and scope of the music curriculum, particularly by engaging more students in creative production and culturally relevant offerings. This article describes the work of a high school choral music educator who implemented new courses in Hip Hop Production by strategically navigating the policy process for course approval in his school district, informing the proposal with readily available data, consulting with colleagues, and aligning the purposes of the courses with district initiatives. As a case of music teachers’ curricular agency, this story illustrates valuable orientations and principles of change that open up avenues for the expansion of music programs in the context of district-level policy environments.

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Stavrou, Natassa Economidou. "The music curriculum as ‘received’ by children: Evidence from Cyprus primary schools." British Journal of Music Education 23, no. 2 (June 29, 2006): 187–204. http://dx.doi.org/10.1017/s0265051706006929.

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This article reports on research investigating the ‘received’ music curriculum as experienced by children and how this corresponds with the expectations of the official music curriculum. The research was conducted in Cyprus and the sample consisted of 1196 children in their final year in primary school. Results verify a huge gap between curriculum theory and implementation, revealing that knowledge accumulated during the six years of primary education is far distant from the over-optimistic intentions of the official music curriculum. Additionally, music was found to be one of children's least favourite school subjects, suggesting the need for a more learner-centred and process-orientated music curriculum.

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Yu, Zhuo, and Bo-Wah Leung. "Music teachers and their implementation of the new Music Curriculum Standards in China." International Journal of Music Education 37, no. 2 (January 22, 2019): 178–97. http://dx.doi.org/10.1177/0255761418820647.

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The Ministry of Education of China issued a new document of Music Curriculum Standards in 2011 substituting the old version of 2001. This study aims to investigate how music teachers in China implement and respond to the Curriculum Standards through a questionnaire survey and semi-structured interviews with voluntary teachers. A total of 2206 music teachers from 15 regions/provinces responded to the survey in 2015. Findings reveal that, after a few years of implementation, most teachers found different constraints in implementing the new curriculum. Trained teachers, younger teachers and experienced teachers are more receptive and capable in implementing the curriculum, while rural schools are still in a disadvantaged situation. Most teachers do not understand the concept of music education as aesthetic education. In-service training is found to be insufficient, especially in rural schools. In sum, the current ‘knowledge-centered curriculum’ might need to be redirected to the directions of society-centered and student-centered in order to make a balance.

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Wong, Marina WY. "Developing Macau’s junior secondary schools music curriculum." International Journal of Music Education 36, no. 4 (June 15, 2018): 574–87. http://dx.doi.org/10.1177/0255761418774907.

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For centuries, Macau’s schooling has embraced laissez-faire market principles, a stasis that from AY2016/17 is being changed by the government offering schools tuition coupons conditional on their adoption of a common school curriculum. A study of part of this new common curriculum, the development of a music curriculum for junior secondary schools in Macau, addresses three research questions: (a) What are music teachers’ perceptions and how do these frame the implementation of Macau’s common music curriculum? (b) Do music teachers’ expectations align with those of the central government? (c) Do music teachers perceive that they impact on or are impacted by this innovation? Discussion of the findings highlights a controversy about the role of teachers within curriculum development – should teachers be center staged (Lawton (2012 [1980]) or is this view an oversimplification based on false assumptions of a social democratic tradition (Whitty (1985, 2012 [1981])?

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Howard, Karen. "The Emergence of Children’s Multicultural Sensitivity: An Elementary School Music Culture Project." Journal of Research in Music Education 66, no. 3 (June 25, 2018): 261–77. http://dx.doi.org/10.1177/0022429418784594.

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The purpose of this ethnographic study was to examine student outcomes of a curriculum designed to address the overlapping aims and practices of music education and multicultural education ideals in a fifth-grade music class. The following questions guided the research: What are the student outcomes as a result of a traditional music curriculum when it is designed to focus on selected musical cultures of Africa and the African diaspora? Are children capable of developing cultural understanding through a process of learning experiences that include emphasis on the sociocultural features of the musical cultures? What are the culturally specific musical skills that children develop in classes based on the goals of multicultural and music education? A curriculum was created to explore five selected musical cultures. This was followed by an examination of children’s responses and perspectives and the impact of the learning experiences. The most pertinent themes were: cultural authenticity in performance, social bias, and multicultural sensitivity. This study benefits music educators by offering evidence that children can develop musical and social understandings as a result of curricular design and consequently, how that learning shapes children’s understanding of processes that are historical, cultural, and even democratic.

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Kim, You Jin, and Moo Kyoung Song. "Exploring teachers’ approaches to popular music: Attitudes, learning practice, and issues in South Korea." International Journal of Music Education 38, no. 3 (April 28, 2020): 456–69. http://dx.doi.org/10.1177/0255761420919570.

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In recent years, a strong focus on popular music has increased in South Korean music education. Although this shift in the curricular content has led to studies on the formation of popular music repertories in the curriculum, few studies have attended to teachers’ attitudes and learning practices to popular music as related factors. To understand popular music education in South Korea, we investigated music teachers’ attitudes, learning practices, and critical issues that have arisen in their teaching. We conducted an online survey with secondary music teachers ( N = 138) followed by a focus group interview ( n = 6). The findings suggest that teachers’ attitudes toward popular music (positive, neutral, or negative) were associated with their learning practices, including the time they spent on popular music, their selections of popular music genres, and musical activities. This provides a starting point for further investigation of the teachers’ attitudes related to their learning practices in shaping popular music curriculum. Regardless of the teachers’ attitudes to popular music, they agreed popular music a good place to start for their students. In addition, they had similar or divergent perceptions and concerns of teaching popular music depending on their attitudes, as they have found their own individual ways of incorporating popular music.

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Cain, Tim. "Theory, technology and the music curriculum." British Journal of Music Education 21, no. 2 (June 24, 2004): 215–21. http://dx.doi.org/10.1017/s0265051704005650.

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In this short article I present a case for developing a new theory of music education, arguing that advances in music technology have undermined some of the most basic conceptual frameworks we currently possess. I describe some problems that might make the development of a new theory difficult and suggest some ways in which they might be overcome. My hope is that this paper will inspire people to consider the development of such a theory.

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Paynter, John. "Music in the school curriculum: why bother?" British Journal of Music Education 19, no. 3 (October 28, 2002): 215–26. http://dx.doi.org/10.1017/s0265051702000311.

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In spite of centuries of experience and experiment, the practicalities and benefits of general education (schooling) remain uncertain. Can we sustain the spread of subjects that now make up the curriculum? In particular, can we justify time spent on music, which to many would appear to be a specialised study for the talented? The evidence of past practice suggests that the content of classroom music teaching has not done much to help the majority of people to understand music. Yet making music is manifestly an important feature of our humanity. Are there principles at work deep in the nature of music which explain this, and can those features be exploited as the basis of a musical education which will have value for everyone?

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Grant, Christina. "Addressing Music Intelligence Across the Curriculum." International Journal of the Arts in Society: Annual Review 5, no. 4 (2010): 59–70. http://dx.doi.org/10.18848/1833-1866/cgp/v05i04/35879.

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Klocko, David G. "Multicultural Music in the College Curriculum." Music Educators Journal 75, no. 5 (January 1989): 38–41. http://dx.doi.org/10.2307/3398091.

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Paxcia-Bibbins, Nancy. "More Than Music A Collaborative Curriculum." Music Educators Journal 80, no. 1 (July 1993): 23–28. http://dx.doi.org/10.2307/3398650.

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Hanley, Betty, and Janet Montgomery. "Challenges to Music Education: Curriculum Reconceptualized." Music Educators Journal 91, no. 4 (March 2005): 17–20. http://dx.doi.org/10.2307/3400153.

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