Journal articles: 'Music teachers in Australia'

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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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Temmerman, Nita. "An investigation of undergraduate music education curriculum content in primary teacher education programmes in Australia." International Journal of Music Education os-30, no. 1 (November 1997): 26–34. http://dx.doi.org/10.1177/025576149703000104.

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Primary school music experiences have been shown to impact not only on future adult attitudes to, but also interest and participation in music. Unfortunately, the current policy and practice of music in primary schools is still perceived to be unsatisfactory. According to teachers this can be attributed in the main to their undergraduate university training in music education. Music educators have a key role to play in breaking the apparent current cycle of unsatisfactory (or no) music practice at the primary school level. This paper investigates what curriculum content is currently included in compulsory undergraduate university music education programmes. It asks teacher educators, in light of recent research, to reflect critically on the adequacy of their current curriculum to prepare beginning teachers to teach primary school music.

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Russell-Bowie, Deirdre. "Teachers need help: Primary music education in Australia." Set: Research Information for Teachers, no. 2 (August 1, 1998): 1–4. http://dx.doi.org/10.18296/set.0854.

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Temmerman, Nita. "The Philosophical Foundations of Music Education: The Case of Primary Music Education in Australia." British Journal of Music Education 8, no. 2 (July 1991): 149–59. http://dx.doi.org/10.1017/s0265051700008251.

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Primary music education programme development and implementation is founded on philosophical beliefs about the purpose of music education.Primary classroom teachers who ultimately have responsibility for development and implementation of the music education programme formulate their philosophical beliefs about the purpose of music education based on a multitude of variables. Whilst their own past music experiences and education assume significance in the formation of a music education philosophy, the primary music curriculum documents provided by education authorities constitute an important source for teachers' current philosophical opinion about the purpose of music education.Two philosophical arguments have thus far formed the basis of the purpose of music education in the history of the western world, namely, the intrinsic and extrinsic arguments. Primary music curriculum documents have also been based on one (or perhaps both), of these philosophical views about the purpose of music education.In this article a discussion of the philosophical foundations of music education, with special reference to primary music education in Australia, is presented. Five primary music curriculum documents will be looked at, and commentary given about the current philosophical status of Australian primary music education and the implications for programme development and implementation.

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Garvis, Susanne. "Beginning generalist teacher self-efficacy for music compared with maths and English." British Journal of Music Education 30, no. 1 (November 26, 2012): 85–101. http://dx.doi.org/10.1017/s0265051712000411.

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In 2008, 201 beginning generalist teachers throughout Queensland, Australia, responded to a questionnaire intended to create a snapshot of current self-efficacy beliefs towards teaching music. Beginning teachers were asked to rank their perceived level of teacher self-efficacy for music, English and maths. Results were analysed through a series of repeated measures ANOVAs to compare the mean scores for statistical difference. Findings suggest that generalist beginning teacher self-efficacy for music declines as years of teaching experience increase, while teacher self-efficacy for English and maths increases during this period. Results provide key insights for teacher educators, school administrators and policy makers into the likelihood of long-term music teaching in the generalist classroom. Greater support is required to reverse the documented snapshot of low teacher self-efficacy for music education in Queensland generalist teacher classrooms.

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Waters, Megan. "The perceived influence of the one-on-one instrumental learning environment on tertiary string students’ perceptions of their own playing-related discomfort/pain." British Journal of Music Education 37, no. 3 (August 26, 2020): 221–33. http://dx.doi.org/10.1017/s0265051720000236.

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AbstractThis article draws on qualitative data collected over a five-year period as part of a longitudinal mixed methods research project at a tertiary music institution in Australia. Forty tertiary string students consistently identified factors specific to the one-on-one instrumental teaching environment as influencing their perceptions as to the nature and causes of their playing-related discomfort pain. Student perceptions of individual teacher’s attitudes to pain and injury, experiences with regards to asking and receiving advice and the perceived influence of the first instrumental teacher are discussed using six examples. The paper concludes with several recommendations for instrumental music teachers and music institutions.

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Cain, Melissa. "Musics of ‘The Other’: Creating musical identities and overcoming cultural boundaries in Australian music education." British Journal of Music Education 32, no. 1 (February 23, 2015): 71–86. http://dx.doi.org/10.1017/s0265051714000394.

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The binary opposition between ‘own music’ and ‘other's music’ is the ‘result of deep conditioning’ (Drummond, 2010, p. 118) and is almost impossible to overcome.By exploring the underlying constructs that influence students’ and teachers’ perceptions of minority cultures and their musics, this paper explores the notion of ‘the other’ in Australian music education. In particular, how the many factors which play a role in cultural identity serve to both promote and prevent musical understanding and appreciation. An examination of Australian multicultural policy and music curriculum documents in the state of Queensland provides a foundation for the discussion of data obtained from interviews with teachers from state and private primary schools in the capital Brisbane. The results reveal that while music educators are generally inquisitive about incorporating musics of ‘other’ cultures into their lessons, they are less comfortable with crossing cultural boundaries, and do not wish to threaten the position of Australia's own musical culture – ultimately highlighting a disconnect between policy, rhetoric and practice in the area of culturally diverse music education in classrooms today.

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Silsbury, Elizabeth. "Tertiary Music Education in Australia." British Journal of Music Education 5, no. 2 (July 1988): 173–80. http://dx.doi.org/10.1017/s0265051700006513.

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During the Whitlam years, tertiary education burgeoned in Australia. Colleges of Advanced Education, most of them transformed Teachers' Colleges and unconvinced that their coaches would not turn out to be pumpkins after all, sprang up and/or expanded in city and country districts in all states. A national study carried out in 1977 showed that tertiary music and music education was everywhere healthy and in some places flourishing. In 1980 the Razor Gang went on a surgical rampage, perpetrating amalgamations in the name of economy on the GAEs, and forcing many of them into alliances as unwieldy as they were unholy. In 1987 a national review involving universities as well as GAEs was launched.Elizabeth Silsbury's article traces those changes, describes their effect on music and takes a punt on what might happen when the dust settles for the third time in less than 20 years.

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Garvis, Susanne. "What is going on in early years music planning? A study of early years teachers' weekly plans." Australasian Journal of Early Childhood 37, no. 2 (June 2012): 122–26. http://dx.doi.org/10.1177/183693911203700216.

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ARTS EDUCATION IS AN Important element of the early years curriculum. Children first learn to express themselves through the arts (dance, drama, media, visual arts and music). Furthermore, numerous studies provide evidence that quality learning experiences in the arts contribute in significant ways to social success and impact positively on a child's academic achievement and long-term education. In Australia, early years teachers are expected to teach arts education. This study explored the weekly planning of 76 early years teachers across kindergartens, preparatory classes and Years 1, 2 and 3 in Queensland, Australia. Settings took a structured ‘curriculum-focused’ approach to learning in the early years, which made the exploration of planning important. Our study looked for segments of time devoted to music throughout the week. Content analysis was used to interpret the weekly plans, with three themes emerging: (1) The majority of the weekly plans were dedicated to literacy and numeracy; (2) Little time was devoted to the teaching of music apart from the scheduled 30-minute music lesson with a specialist teacher in some schools; and (3) Of the limited number of weekly plans that featured music, activities were teacher-directed. These results provide insight to the current understanding and value of music education in the early years curriculum. Key messages can be drawn about the importance of professional development, music advocacy in the early years, and curriculum and policy planning.

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Burke, Harry. "Marching backwards into the future: the introduction of the English creative music movement in state secondary schools in Victoria, Australia." British Journal of Music Education 31, no. 1 (September 2, 2013): 41–54. http://dx.doi.org/10.1017/s0265051713000235.

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In 1910, Victoria established an elite form of state secondary education that remained essentially unchanged until the introduction of a progressive curriculum during the late 1960s. This radical and voluntary curriculum introduced child-centred learning and personal development skills to state secondary schools. Many state secondary music teachers took advantage of the reform and introduced the English creative music movement (Rainbow, 1989). As music teachers were unfamiliar with progressive education they would require extensive retraining. Continual disruption to state secondary education during the 1970s, together with the lack of expertise in progressive music education in the Victorian Education Department led to music teachers being given little assistance in developing strategies for teaching creative music. No rationale was developed for creative music education until the late 1980s. As research in music education was in its infancy in Australia during the late 1960s, teachers had little understanding of the difficulties faced by many creative music teachers in England in regard to students developing traditional skills, for example music notation and performance-based skills. Dissatisfaction with progressive education led to the introduction of standards-based education in 1995. Progressive educational theories were no longer considered an important goal. Similar to the late 1960s Victorian education reforms, music teachers received little assistance from the Victorian Education Department. The introduction of standards-based Arts education has seriously reduced the teaching of classroom music throughout the state, leaving many classroom music programmes in a perilous position that is analogous to state music education before the introduction of progressive education in the late 1960s.

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Joseph, Dawn, and Kay Hartwig. "Promoting African Music and enhancing intercultural understanding in Teacher Education." Journal of University Teaching and Learning Practice 12, no. 2 (April 1, 2015): 108–21. http://dx.doi.org/10.53761/1.12.2.8.

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Australia is a culturally diverse nation. The Arts provide a pathway that contributes to the rich tapestry of its people. Tertiary music educators have the responsibility to provide opportunities to effectively prepare and engage pre-service teachers in becoming culturally responsive. The authors discuss the importance and need to include guest music educators as culture bearers when preparing pre-service teachers to teach multicultural music. Drawing on data from student questionnaires, author participant observation and reflective practice in 2014, the findings highlight the experiences and practical engagement of an African music workshop in teacher education courses. Generalisations cannot be made, however, the findings revealed the need, importance and benefits of incorporating guest music educators as culture bearers who have the knowledge, skills and understandings to contribute to multicultural music education. This experience may be similar to other educational settings and it is hoped that the findings may provide a platform for further dialogue in other teaching and learning areas.

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Tao, Xiangyi, and Robyn Ewing. "Images of the child in preschool music education: Case studies in Australia and China." International Journal of Music in Early Childhood 14, no. 2 (December 1, 2019): 147–65. http://dx.doi.org/10.1386/ijmec_00002_1.

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This article explores images of young children in preschool music curricula in an Australian and a Chinese preschool. The ‘images of the child’ relevant to each country are presented by including children’s voices, teachers’ perceptions of children’s personalities and their ways of learning, and children’s roles in learning as designated in official documents on early childhood education. Framed by a sociocultural perspective, this qualitative case study responds to the changing contexts of early childhood music education (ECME) in both countries. Crystallization as a methodological lens is applied to shed light on the variations and complexities from the teachers’ and the children’s perspectives. Data-gathering methods include document analysis, classroom observations, teachers’ interviews and conversations with children. This article particularly reflects the images and experiences of the children through their own lenses and enriches the scope of current ECME research.The main findings suggest the existence of both alignment and gaps, in varying degrees, between the official policy documents, the teachers’ perceptions, and the children’s understandings of their musical experiences. First, images of the child in the policy articles are interpreted differently in Australia and China, and there is a marked difference between the countries in their definitions of child-centred learning in specific contexts. Finally, implications and directions for future research are suggested to facilitate children’s musical exploration in preschools.

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Robinson, Jennifer. "Australian super veteran secondary school music teachers: Motivated and valuable." International Journal of Music Education 38, no. 2 (February 6, 2020): 226–39. http://dx.doi.org/10.1177/0255761420902870.

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Veteran teachers are defined as having over 15 years’ teaching experience. This research introduces a new career stage of ‘super veteran’ for music teachers that have worked for 30 plus years and seeks to identify the influences on, and contributions of, Australian secondary school music teachers of this career stage. This article reports on survey data gathered in a larger qualitative study that contained a national survey and interviews. The analysis of the interview data in the larger study is yet to be completed. Likert-type scale questions were used for demographic data collection and open-ended questions explored influences on music teacher work practice. Of the responses, 32 were from super veteran secondary school music teachers. These teachers were motivated by working with students and felt valued by them and their parents. Super veterans continued to be engaged in professional development, found work–life balance a constant challenge and many were planning to continue teaching. This research has implications for school leaders in encouraging, valuing and utilising the expertise of super veteran secondary school music teachers. It suggests tailoring professional development for this career stage, gives feedback on the implementation of new curriculum and indicates strategies for stress management and work–life balance.

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BURNARD, PAMELA, and GARY SPRUCE. "Editorial." British Journal of Music Education 28, no. 2 (June 6, 2011): 115–16. http://dx.doi.org/10.1017/s0265051711000027.

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In this issue, we witness different ways in which to illuminate the complexities of music teachers and music teaching processes and the conditions through which students learn and teachers embody different and contested images of professional ideals, ideologies and practices. In studies drawn from as far afield as New Zealand, Australia, Republic of Ireland and the UK, authors locate current debates about practice and offer careful analysis, insights and compelling ideas for change that range from teacher professionalism and accountability to community engagement and government policy. There are a range of theoretical frameworks incorporated (including cognitive psychology, constructivism, interpretative phenomenology, and sociocultural theories of situated learning, zone of proximal learning, and concept formation) and the authors' work relates to a range of contested areas. The articles move between teacher thinking and classroom practice to key factors in students’ learning and achievement and music learning in the ‘third age’. All are concerned with the ways in which beliefs, values and identities, structural and curriculum reforms, informal and formal learning sites, and pre-service and continuing professional development, shape and affirm the importance in building understandings of students and teachers' musical lives and how particular practices get embodied in particular contexts. The sites of practice include secondary school music, conservatoire research, university programmes, music communities and local government sectors. The articles draw on diverse data generated via in-depth interview methods, questionnaires, document analysis, observation and accounts of musical experiences.

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Cain, Melissa, and Jennifer Walden. "Musical diversity in the classroom: Ingenuity and integrity in sound exploration." British Journal of Music Education 36, no. 1 (June 13, 2018): 5–19. http://dx.doi.org/10.1017/s0265051718000116.

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This paper examines the practice of five music educators in Canada and Australia who, despite the pervasiveness of ingrained Western-based pedagogy in these countries, are forging ahead with culturally diverse music programmes. Their work is presented as five ‘snapshots of practice’ which provide inspiration and conceptual ideas for other teachers aiming to diversify their practice in music education. While willingness and enthusiasm are paramount, it is these exemplars of innovative and resourceful practice which are crucial in assisting teachers to recognize that alternative forms of musicianship are both legitimate and essential to a well-rounded education in sonic exploration.

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Killen, Roy. "Preservice music teachers: influences on lesson planning." British Journal of Music Education 13, no. 1 (March 1996): 31–47. http://dx.doi.org/10.1017/s026505170000293x.

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This article explores the influences on preservice teachers' planning decisions in a study conducted during Semester I, 1994 at an Australian University. A group of second year Bachelor of Education (Music) students and Diploma in Education (Music) students were placed in a local school under the supervision of their university specialist methods lecturer and were required to teach a specified lesson to a junior secondary class on three occasions. Before teaching these lessons, every preservice teacher was interviewed and asked to justify each of their planning decisions. Responses for the planning decisions at each stage of the study were grouped into categories. The results show that some categories of responses remained the same, while others changed throughout the study. The study also revealed that the preservice teachers operated on two sets of lesson agendas: the written agenda which was influenced by the university pedagogical programme, and the unwritten agenda influenced by the preservice teachers' beliefs about teaching.

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Joseph, Dawn, Rohan Nethsinghe, and Alberto Cabedo-Mas. "“We learnt lots in a short time”: Cultural exchange across three universities through songs from different lands." International Journal of Music Education 38, no. 2 (October 3, 2019): 177–93. http://dx.doi.org/10.1177/0255761419880027.

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Establishing strong connections between universities within initial teacher education (ITE) programs not only takes time, but it also presents opportunities and challenges. Tertiary music educators are called to prepare ITE students/pre-service teachers to be culturally responsive. This article forms part of our wider study “See, Listen and Share: Exploring Intercultural Music Education in a Transnational Experience Across Three Universities (Royal Melbourne Institute of Technology University, Australia; Deakin University, Australia; and Universitat Jaume I of Castelló, Spain). For this article, we draw on student web survey data, anecdotal feedback, and our reflections. We employ Interpretative Phenomenological Analysis as a tool to thematically group our surveys into three broad overarching themes to inform our findings and discussions. We argue that music education is an effective vehicle for exploring culture and diversity through song. Our findings show that our ITE students built positive attitudes about using songs in their generalist primary and early childhood classrooms. They also recognized the importance of collaborative sharing using face-to-face and Skype. This project proved a worthy experience for all concerned, it formed a rich part of our professional learning. We encourage others to consider the approach as one way to promote multicultural music and cultural diversity within ITE programs and across other educational settings.

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McEwan, Rob. "Secondary student motivation to participate in a Year 9 Australian elective classroom music curriculum." British Journal of Music Education 30, no. 1 (July 2, 2012): 103–24. http://dx.doi.org/10.1017/s026505171200023x.

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Despite strong philosophical arguments supporting the inclusion of music in all students’ education, declining student participation rates in school music activities during the middle years of schooling remain an ongoing issue for music education researchers. This paper presents the findings of a case study examining the motivational factors influencing student enrolment behaviour in the elective classroom music curriculum within the social context of an independent secondary school in regional Australia. The analysis discussed in this paper focuses on the socio-cultural contexts of school culture, peer group, family values and student perceptions of teachers as factors shaping student academic motivational orientations.

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Harrison, Scott D., Don Lebler, Gemma Carey, Matt Hitchcock, and Jessica O'Bryan. "Making music or gaining grades? Assessment practices in tertiary music ensembles." British Journal of Music Education 30, no. 1 (July 2, 2012): 27–42. http://dx.doi.org/10.1017/s0265051712000253.

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Participation in an ensemble is a significant aspect of tertiary music experience. Learning and assessment practices within ensembles have rarely been investigated in Australia and the perceptions of staff and students as to how they learn and are assessed within ensembles remain largely unexplored. This paper reports on part of a larger project that investigated learning and assessment practices within ensembles at an Australian Conservatorium of Music. Ensembles contribute to approximately 25% of student work in each semester, and the assessment contributes to a final grade for the semester. Using a case study methodology, four music ensembles were studied. The data generated were coded into themes including assessment practices and processes; collaborative learning practices; the development of the professional musician; and communication and transparency between participants and the institution. Findings revealed that both staff and student participants in this study perceived ensemble participation to be valuable to the development of a professional musician, but that assessment procedures did not always support this goal. Institutional demands were found to be an inhibiting factor in the assessment of ensembles, and both students and teachers had problems with current assessment procedures, resulting in confusion and lack of transparency about how ensembles are assessed. Approaches to the development of the professional musician became a dominant discussion point and a substantial finding of the research. By examining dominant and subjugated knowledge in this domain, institutional power relations were interrogated, existing practices were challenged, and assessment practices rethought.

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Barrett, Margaret S., Katie Zhukov, Joanne E. Brown, and Graham F. Welch. "Evaluating the impact of a generalist teacher-led music program on early childhood school children’s singing skills and attitudes to music." Psychology of Music 48, no. 1 (August 16, 2018): 120–36. http://dx.doi.org/10.1177/0305735618790355.

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This article reports on the impact of a generalist teacher-led music program on early childhood school children’s singing skills and attitudes to music. Singing tests and class surveys were administered to students in 11 Australian primary schools where music specialists mentored classroom teachers over the period of one to two school terms. The results show that implementing music activities in early education settings can positively impact young children’s singing skills and attitudes to music regardless of gender, ethnicity and socio-economic standing of the school. The study provides empirical evidence of the benefits accrued by children through access to music education.

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Joseph, Dawn. "Fostering a happy positive learning environment for generalist pre-service teachers: building confidence that promotes wellbeing." British Journal of Music Education 36, no. 02 (July 2019): 183–96. http://dx.doi.org/10.1017/s0265051719000159.

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AbstractMusic is more than just sounds; engaging in music activities in educational settings may foster a sense of wellbeing. This paper explores whether positive learning environments can change attitudes and build confidence of students undertaking the Bachelor of Education (primary) program. As part of a wider study in Melbourne (Australia), using questionnaire data, this qualitative case study reports on two overarching themes (Wellbeing and Learning, and Skill Development and Confidence). I contend that a happy and safe teaching and learning space may promote and nurture the health and wellbeing of students who lack the confidence to teach music as generalist teachers.

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Temmerman, Nita. "Undergraduate Elementary Teacher Education Music Curricula in Australia." Journal of Music Teacher Education 7, no. 2 (January 1998): 14–21. http://dx.doi.org/10.1177/105708379800700204.

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Garvis, Susanne, and Donna Pendergast. "Storying music and the arts education: the generalist teacher voice." British Journal of Music Education 29, no. 1 (February 21, 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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Stevens, Robin S., Gary E. McPherson, and Graham A. Moore. "Overcoming the ‘tyranny of distance’ in instrumental music tuition in Australia: The iMCM project." Journal of Music, Technology and Education 12, no. 1 (August 1, 2019): 25–47. http://dx.doi.org/10.1386/jmte.12.1.25_1.

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Instrumental and vocal music students in regional and remote areas of Australia are often significantly disadvantaged in their development by the lack of local teachers who specialize in the instrument being learned. The current rollout of National Broadband Network (NBN) across Australia offers the potential for overcoming this geographical disadvantage by providing specialist online tuition through videoconferencing. This article reports on an investigation of technical and pedagogical issues associated with synchronous online instrumental tuition. The outcomes from laboratory- and field-based trials included identification of optimal hardware and software delivery systems and pedagogical considerations for optimizing online instrumental learning.

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Stevens, Robin S. "Pathfinder and Role Model: Ada Bloxham, Australian Vocalist and Tonic Sol-fa Teacher." Journal of Historical Research in Music Education 39, no. 2 (January 18, 2017): 131–47. http://dx.doi.org/10.1177/1536600616669360.

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The Australian mezzo-soprano Ada Beatrice Bloxham (1865–1956) was the inaugural winner (in 1883) of the Clarke Scholarship for a promising musician resident in the Colony of Victoria to study at the Royal College of Music in London. She was the first Australian to enrol at the Royal College of Music and to graduate as an Associate of the College in 1888, and she was the first woman to be awarded a Fellowship of the Tonic Sol-fa College, London, also in 1888. After a period teaching and performing in Japan (1893–1899), she married and lived variously in South Africa, England, and France, returning to Australia in 1927. Due most probably to her marriage and family responsibilities, she appears not to have achieved her full potential as a performer and teacher. Nevertheless, Bloxham is worthy of recognition as having gained success as a musician and educator both in her native Australia and abroad during her early and middle years, and as a pathfinder and role model for other women during the early years of their musical careers.

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Ashton, Graham R., and Christopher J. Klopper. "Got ’em on a string: The skills, knowledge and attributes of group string teachers in Queensland." International Journal of Music Education 36, no. 1 (February 18, 2017): 58–68. http://dx.doi.org/10.1177/0255761417689922.

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There appear to be considerable differences in the outcomes of group string teaching programs in Queensland. Some teachers appear to be able to generate, manage, and administrate highly efficacious programs; others seem to experience difficulty transferring the knowledge and skills required for students to become successful string players. As a case study with multiple participants, this investigation set out to document the reflections of mid-career group string teachers, observe the outcomes of their programs and teaching methods, and establish a preliminary collective profile of skills, knowledge, and attributes. Key findings include a high degree of overlap in the participant profiles, and the potential for further research into undergraduate training and post-tertiary supervision of group string teachers entering the workforce. Implications of the study include the need to appraise current undergraduate programs preparing group instrumental teachers in Australia, and the necessity for developing strategies to mentor these graduates in their early teaching years.

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Carey, Gemma, and Catherine Grant. "Teacher and student perspectives on one-to-one pedagogy: practices and possibilities." British Journal of Music Education 32, no. 1 (April 1, 2014): 5–22. http://dx.doi.org/10.1017/s0265051714000084.

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This paper explores teachers’ and students’ perceptions of one-to-one pedagogy, in the context of tertiary vocal and instrumental tuition. Teachers and students at one Australian conservatoire participated in interviews and focus groups that explored their experiences and perceptions on the nature, value, effectiveness and challenges of one-to-one learning and teaching. Four key themes emerged: customising teaching to the learner, the teacher–student relationship, negotiating issues of student dependency versus self-sufficiency, and situating one-to-one in a broader institutional context. Aside from an undisputed view that one-to-one is essential to students’ learning and development, findings indicate diverse perceptions, including discrepancies between intentions of teachers and their pedagogical practice, and between teacher practice and student expectations. By drawing on voices ‘from the inside’ to characterise one-to-one practice, the study contributes to evidence-based research about learning and teaching in the conservatoire environment.

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COX, GORDON, and STEPHANIE PITTS. "Editorial." British Journal of Music Education 22, no. 1 (March 2005): 3–4. http://dx.doi.org/10.1017/s026505170500608x.

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In her contribution to our Special Issue in 2003, Estelle Jorgensen called for ongoing conversations between university lecturers and school teachers, to avoid the danger of music educators, historians and theorists being ‘like ships sailing past each other in the night’. We believe that one of the functions of BJME is to develop such collegial relationships and thus help to establish a strong music education community at all levels, both nationally and internationally. Certainly this present issue reflects a range of contexts from nursery schools to universities, with papers from researchers in Australia, England, France, Italy and Scotland.

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Lim, Eun-Jung, Young Mee Kim, Sumi Kwon, and Misook Kim. "A Study on the Training System of Music Teachers in England, Australia and New Zealand." Korean Music Education Society 49, no. 3 (August 31, 2020): 51–77. http://dx.doi.org/10.30775/kmes.49.3.51.

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Russell, Deirdre. "Music is Fun." British Journal of Music Education 5, no. 2 (July 1988): 157–63. http://dx.doi.org/10.1017/s0265051700006495.

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This is a report on the Music Curriculum course units in a primary teacher-training programme held at the Macarthur Institute of Higher Education, Sydney, Australia. It attempts to give an overview of the attitudes of starting students to music and their experiences of music teaching in the Primary School. These are generally negative, and the students are very hesitant about the idea of being expected to teach music when they graduate. Course content is examined along with changes in attitudes, skills and knowledge of the students.

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Crawford, Renée. "Beyond the dots on the page: Harnessing transculturation and music education to address intercultural competence and social inclusion." International Journal of Music Education 38, no. 4 (May 1, 2020): 537–62. http://dx.doi.org/10.1177/0255761420921585.

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Australia has always been known as one of the most multicultural countries in the world, but as globalisation becomes the norm and we begin to welcome people from countries with vastly different backgrounds, experiences, ideologies, values and belief systems, how can we harness the power of education to develop intercultural competence and enhance social inclusion? A reconsideration of what we teach and how is required in order to account for the social, cultural and economic differences and similarities embodied within the changing society and contemporary student cohort. More specifically, what role can music education play in fostering transculturational practices that provide opportunities for personal, social and academic achievement? This multiple case study is situated across three schools in Victoria, arguably one of the most culturally and religiously diverse and densely populated states in Australia. This research explores the perceptions, experiences and practices of teachers directly or indirectly involved with the music education programme in three schools that have a high percentage of young people with a refugee background. Key findings from this research indicated that intercultural competence and socially inclusive behaviours were seamlessly embedded in the music learning activities that were student-centred, active, practical, experiential and authentic.

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English, Helen J., Matt Lumb, and Jane W. Davidson. "What are the affordances of the digital music space in alternative education? A reflection on an exploratory music outreach project in rural Australia." International Journal of Music Education 39, no. 3 (March 10, 2021): 275–88. http://dx.doi.org/10.1177/0255761421999731.

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In Australia, access to music education is inequitable due to the challenges of distance, different state education systems and a lack of resources in schools. As a means to address this social justice issue, we explore here the viability and effects of a digitally based music outreach programme undertaken in collaboration with Hands on Learning (HOL), an alternative education provider. The programme was delivered over 6 weeks using GarageBand to children in a small rural town who were experiencing difficulties in upper primary and lower secondary school years. A qualitative approach was taken, holding focus groups, observing sessions and accessing HOL daily notes. The programme had a significant impact on the teachers and children involved, showing promise for a larger scale project in the future.

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Crawford, Renée. "Socially inclusive practices in the music classroom: The impact of music education used as a vehicle to engage refugee background students." Research Studies in Music Education 42, no. 2 (June 28, 2019): 248–69. http://dx.doi.org/10.1177/1321103x19843001.

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As schools become increasingly culturally diverse, globalisation and cross-cultural exchange challenge teachers in complex but exciting ways. This article reports on the impact of music education for students in a secondary school in Victoria, Australia. Socially inclusive practices were a focus of the study as the school has a high percentage of young people with a refugee background. A number of school-based musical experiences provided opportunities for cross-cultural exchange and negotiation, and diverse communications are described. Music education was used as a vehicle to engage young refugee background students, which was indicative of three primary themes: personal wellbeing, social inclusion (a sense of belonging), and an enhanced engagement with learning. Key findings from this case study research indicated that a music classroom which fostered socially inclusive practices resulted in a positive transcultural learning space. This research raises important questions about the critical role of music education and the arts in contemporary and culturally diverse school contexts.

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Watson, Amanda. "Musicians as instrumental music teachers: Issues from an Australian perspective." International Journal of Music Education 28, no. 2 (April 26, 2010): 193–203. http://dx.doi.org/10.1177/0255761410362939.

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Daniel, Ryan, and Julia Bowden. "The intermediate piano stage: exploring teacher perspectives and insights." British Journal of Music Education 30, no. 2 (April 3, 2013): 245–60. http://dx.doi.org/10.1017/s0265051713000041.

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While many piano students successfully progress beyond beginner status to reach what is commonly referred to as the intermediate stage, there is minimal research specific to this area of practice. This is despite the fact that there is a high drop-out rate at this stage. This research study therefore set out to develop an in-depth understanding of the key issues of relevance from the perspective of the teachers who work with intermediate piano students. In order to develop a substantial body of data and therefore increase the validity of the findings, a comprehensive e-survey was developed and distributed to practitioners in the UK, USA and Australia, with 583 practitioners participating in the research. The findings highlight some of the key challenges teachers face when working with intermediate students, one of which is the priority students place on their piano studies, with teachers arguing that external commitments have a negative impact on commitment and progression in piano lessons. The data also reveal that repertoire is a major factor of relevance, with teachers citing popular music styles as of more interest to most students than traditional Western art repertoire, yet it is the least studied area in lessons. Given the impact that these two issues have on teachers' experiences of working with piano students and relevant drop-out rates at this stage, it is clear that there is a significant need for further research by engaging other key stakeholders, in order to develop a more comprehensive understanding of the complexities involved in this area of music education.

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Ballantyne, Julie. "Documenting praxis shock in early-career Australian music teachers: the impact of pre-service teacher education." International Journal of Music Education 25, no. 3 (December 2007): 181–91. http://dx.doi.org/10.1177/0255761407083573.

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Zhukov, Katie. "Exploring the content of instrumental lessons and gender relations in Australian higher education." British Journal of Music Education 25, no. 2 (June 11, 2008): 159–76. http://dx.doi.org/10.1017/s0265051708007900.

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This observational study analysed the lesson content of 24 instrumental lessons (piano, strings and winds) using a gender-balanced sample (equal numbers of male/female teachers and students) from five Australian higher education institutions to ascertain the priorities of topics in advanced applied music lessons in the Western Classical tradition. The results were analysed according to gender to determine differences of approach between male and female teachers and male and female students. Same-gender and different-gender pairings were also considered. Technique was found to be of the greatest importance, followed by Articulation and Expression. Some gender differences have emerged between the teachers, with the male teachers tending towards a more analytical approach and the female teachers adopting more balanced lesson content. The treatment of students showed some divergence, with greater emphasis on Expression in the lessons of female students, whereas the male students studied more Structure. The results demonstrate stereotypical gender behaviour among the teachers and towards their students not previously observed in this educational setting.

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Lee, Juyoung, Amanda E. Krause, and Jane W. Davidson. "The PERMA well-being model and music facilitation practice: Preliminary documentation for well-being through music provision in Australian schools." Research Studies in Music Education 39, no. 1 (April 12, 2017): 73–89. http://dx.doi.org/10.1177/1321103x17703131.

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The aim of this study was to consider how we can invest in music-making to promote well-being in school contexts. Web-based data collection was conducted where researchers identified 17 case studies that describe successful music programs in schools in Australia. The researchers aligned content from these case studies into the five categories of the PERMA well-being model: Positive emotions, Engagement, Relationships, Meaning, and Accomplishment, in order to understand how each well-being element was realised through the music programs. The results indicate that the element of the PERMA well-being model that relates to relationships was described most often. Collaboration and partnership between students, teachers, and staff in schools, and local people in the community such as parents, local entrepreneurs, and musicians were repeatedly identified as a highly significant contributing factor in the success of the music program. The school leaders’ roles in providing opportunities for students to experience musical participation and related activities (engagement) and valuing these experiences (meaning) were also crucial in the facilitation of the music programs. The findings of this study indicate that tailored music and relationship-centred music programs in schools not only increase skills and abilities of the students, but also improve the psychosocial well-being of the students and the community.

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Mcphee, Alastair, Peter Stollery, and Ros Mcmillan. "The Wow Factor? A Comparative Study of the Development of Student Music Teachers’ Talents in Scotland and Australia." Educational Philosophy and Theory 37, no. 1 (January 2005): 105–17. http://dx.doi.org/10.1111/j.1469-5812.2005.00101.x.

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Robottom, Ian. "Teacher Education in Environmental Education: The ‘Grip of Print’ & Other Lessons from Distance Education." Australian Journal of Environmental Education 5 (August 1989): 9–14. http://dx.doi.org/10.1017/s081406260000210x.

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This paper focuses on teacher education in environmental education. In seeking alternatives and improvements in EE teacher education, it is instructive to see what lessons might be learnt from efforts at distance education in this field. The paper will outline the structure and context of a teacher education course in environmental education -- a course that is part of an off-campus (distance education) Bachelor of Education program -- and then consider a number of curriculum issues that have arisen in the history of this course.The course itself is located in a Bachelor of Education program at Deakin University and is available for practising teachers throughout Australia who are interested in upgrading their education qualifications without having to travel physically to the host institution offering the degree. The B.Ed, program comprises a number of ‘generic’ curriculum courses in such areas as curriculum design and development, educational enquiry and action research, and a number of ‘specialist’ curriculum courses in such areas as mathematics education, language education and art and music education. The environmental education course takes its place among the ‘specialist’ curriculum courses.

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Lierse, Sharon Melinda. "Know My Language, Know My Music, Know My Culture: Adapting a music education unit in regional Australia to meet the individual needs of pre-service teachers." Orfeu 3, no. 2 (December 31, 2018): 189–206. http://dx.doi.org/10.5965/2525530403022018189.

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Joseph, Dawn. "Opportunities and Challenges: Preparing Generalist Teacher Education Students in Music Education in Australia." International Journal of Humanities Education 12, no. 1 (2014): 13–26. http://dx.doi.org/10.18848/2327-0063/cgp/v12i01/43816.

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Pace, Ian. "The Panorama of Michael Finnissy (II)." Tempo, no. 201 (July 1997): 7–16. http://dx.doi.org/10.1017/s0040298200005775.

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A large body of Michael Finnissy's work refers to music, texts and other aspects of culture outside the mainstream European tradition. As a child he met Polish and Hungarian friends of the family, and was further attracted to aspects of Eastern European music when asked to transcribe Yugoslav music from a record, for a ballet teacher. Study of anthropological and other literature led him to a conviction that folk music lay at the roots of most other music, and related quite directly to the defining nature of man's interaction with his environment. Finnissy went on to explore the widest range of folk music and culture, from Sardinia, Yugoslavia, Rumania, Bulgaria, the Kurdish people, Azerbaijan, the Vendan Africans, China, Japan, Java, Australia both Aboriginal and colonial, Native America and more recently Norway, Sweden, Denmark, India, Korea, Canada, Mexico and Chile.

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Bradley, John, Frances Devlin-Glass, and Elizabeth Mackinlay. "Diwurruwurru: Towards a New Kind of Two-Way Classroom." Australian Journal of Indigenous Education 27, no. 2 (December 1999): 24–26. http://dx.doi.org/10.1017/s1326011100600546.

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A project is currently underway at http://arts.deakin.edu.au which is innovative on a number of fronts. It has multiple beginnings: in the proactive, as culture dissemination work of a number of Yanyuwa and Garrwa women, who proclaimed in the white man’s world that they were ‘bosses themselves’ (Gale 1983) and who in various ways have sought to bring their culture to the attention of the wider world. This has been accomplished through a prize-winning (Atom Australian Teachers of Media awards in 1991) film, Buwarrala Akarriya: Journey East (1989), of are-enacted ritual foot-walk in 1988 from Borroloola to Manankurra 90 kilometres away. They also made a another prize winning film called Ka-wayawayarna: The Aeroplane Dance (1993) which won the Royal Anthropological Society of London award for the best ethnographic film in 1995. Since 1997 senior Yanyuwa women have been involved on a regular basis in sharing their knowledge of Yanyuwa performance practice with tertiary students in a subject called Women’s Music and Dance in Indigenous Australia which is offered as a course in anthropology through the Aboriginal and Torres Strait Islander Studies Unit, they have also lectured in core anthropology subjects in the faculty of Social and Behavourial Sciences Department of Anthropology and Sociology at the University of Queensland. They have also engaged actively in work as language preservers and teachers at the Borroloola Community Education Centre (hereafter BCEC) and in the Tennant Creek Language Centre program called Papulu Apparr-Kari.

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Callaghan, Jean. "Singing Teachers and Voice Science - An Evaluation of Voice Teaching in Australian Tertiary Institutions." Research Studies in Music Education 10, no. 1 (June 1998): 25–41. http://dx.doi.org/10.1177/1321103x9801000103.

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Freer, Elisabeth, and Paul Evans. "Psychological needs satisfaction and value in students’ intentions to study music in high school." Psychology of Music 46, no. 6 (October 20, 2017): 881–95. http://dx.doi.org/10.1177/0305735617731613.

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A major issue concerning music educators is declining participation in music over the school years. This study aimed to explain why students choose to study music at school. The theoretical lens of self-determination theory was used to examine how the satisfaction of basic psychological needs might lead to students valuing music and choosing to study it at school. Participants were 204 male students in an Australian high school. A structural equation model was evaluated, with elective intentions predicted by value, psychological needs satisfaction, and instrumental experience. The hypothesized model was supported and explained 65% of variance in elective intentions and 50% of variance in students’ valuing of music. Students with higher psychological needs satisfaction and value for music had stronger intentions to continue studying music. Psychological needs satisfaction explained a considerable proportion of why students valued music. Students with more experience learning an instrument were also more likely to choose music, but psychological needs satisfaction and value were far more influential. These findings extend existing research on Self-Determination Theory(SDT) in educational and music contexts, and suggest implications for teachers wishing to increase participation in school music education.

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Jenkins, Louise. "Pre-service Music Teachers’ Understanding of Blended Learning: Implications for Teaching Post COVID-19." Australian Journal of Teacher Education 46, no. 7 (July 2021): 86–96. http://dx.doi.org/10.14221/ajte.2021v46n7.5.

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The significant increase in online teaching during the COVID-19 pandemic has created a heightened need for educators to implement teaching methods which do not rely solely on “face-to-face” learning within the same physical space. Blended Learning (BL) is one such approach, allowing for flexibility in the delivery of a class and constant access to unit materials. This paper reports on an investigation, by two Australian Pre-service Teacher (PST) educators, of their students’ understanding of BL at the beginning and end of a BL music method unit. Data were collected for three consecutive years with three separate cohorts. Findings indicated that the majority of the participants began the unit with little to no understanding of BL. This improved considerably through direct BL experience, with some exceptions. The implications for the development of flexible and responsive PST education in the current and post pandemic education environment are considered.

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Innes-Brown, Hamish, Jeremy P. Marozeau, Christine M. Storey, and Peter J. Blamey. "Tone, Rhythm, and Timbre Perception in School-Age Children Using Cochlear Implants and Hearing Aids." Journal of the American Academy of Audiology 24, no. 09 (October 2013): 789–806. http://dx.doi.org/10.3766/jaaa.24.9.4.

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Background: Children with hearing impairments, especially those using hearing devices such as the cochlear implant (CI) or hearing aid (HA), are sometimes not encouraged to attend music classes, as they or their parents and teachers may be unsure whether the child can perform basic musical tasks. Purpose: The objective of the current study was to provide a baseline for the performance of children using CIs and HAs on standardized tests of rhythm and pitch perception as well as an instrument timbre identification task. An additional aim was to determine the effect of structured music training on these measures during the course of a school year. Research Design: The Intermediate Measures of Music Audiation (IMMA) Tonal and Rhythmic subtests were administered four times, with 6 wk between tests. All children in the study were also enrolled in “Music Club” teaching sessions. Measures were compared between groups and across the four testing sessions. Study Sample: Twenty children from a single school in Melbourne, Australia, were recruited. Eleven (four girls) had impaired hearing, including six with a unilateral CI or CI and HA together (two girls) and five with bilateral HAs (two girls). Nine were normally hearing, selected to match the age and gender of the hearing-impaired children. Ages ranged from 9–13 yr. Intervention: All children participated in a weekly Music Club – a 45 min session of musical activities based around vocal play and the integration of aural, visual, and kinesthetic modes of learning. Data Collection and Analysis: Audiological data were collected from clinical files. IMMA scores were converted to percentile ranks using published norms. Between-group differences were tested using repeated-measures analysis of variance, and between-session differences were tested using a linear mixed model. Linear regression was used to model the effect of hearing loss on the test scores. Results: In the first session, normally hearing children had a mean percentile rank of ˜50 in both the Tonal and Rhythmic subtests of the IMMA. Children using CIs showed trends toward lower scores in the Tonal, but not the Rhythmic, subtests. No significant improvements were found between sessions. In the timbre test, children generally made fewer errors within the set of percussive compared to nonpercussive instruments. The hearing loss level partially predicted performance in the Tonal, but not the Rhythmic, task, and predictions were more significant for nonpercussive compared to percussive instruments. Conclusions: The findings highlight the importance of temporal cues in the perception of music, and indicate that temporal cues may be used by children with CIs and HAs in the perception of not only rhythm, but also of some aspects of timbre. We were not able to link participation in the Music Club with increased scores on the Tonal, Rhythmic, and Timbre tests. However, anecdotal evidence from the children and their teachers suggested a wide range of benefits from participation in the Music Club that extended from increased engagement and interest in music classes into the children's social situations.

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Randles, Clint, and Julie Ballantyne. "Measuring self-perceptions of creative identity: a cross-cultural comparison of the creative identities of pre-service music teachers in the US and Australia." Music Education Research 20, no. 2 (November 29, 2016): 231–41. http://dx.doi.org/10.1080/14613808.2016.1249360.

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Evans, Raymond. "The lowest common denominator: loyalism and school children in war-torn Australia 1914 – 1918." Queensland Review 3, no. 2 (July 1996): 100–115. http://dx.doi.org/10.1017/s1321816600006474.

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It is the march of the troops through the children's playground which makes the recruits of ten years afterwards.R.E.N.Twopeny (1883)I made up my mind I was going to the war … I had no idea whatever what war implied, but I did know what it was to march to military music …– ex-AIF member (World War I)Most Australian school children, whether public or private, primary or secondary, had been finely tuned for warfare long before the Great War of 1914–18 had actually begun. School papers and reading books, history, geography and civics lessons, the personal persuasiveness of teachers trained to accept unequivocally “the power for good in teaching patriotism” to captive and captivated young audiences, the “rhythmic harmony” of loyalist singing, marching and versifying, the Imperial pageantry of Empire Day and the militaristic inculcations of highly disciplinary cadet training schemes all combined, in the closed educational environment of the schools, to produce young Australians well primed for unquestioning obedience to the State and martial sacrifice to the Empire. Children at a Sydney primary school were ordered to chant, in 1907, “I give my mind to my country to think for it; I give my heart because I love it; I give my hands to my country to work for it”; — “[and] to fight for it”, all the boy pupils were then expected to intone. Such orchestrated love of country was subordinated, in tum, to love of Britain's Empire — “our peace-bearing, peerless, guardian Empire” as one educator described it - which was presented as not only the largest but the worthiest empire in world history. The “cement of Empire”, it was said, contained such essential ingredients as social conformity, duty and sacrifice, which non-Catholic private schools and state schools applied with a heavily-laden trowel to impressionable young minds both preceding and during World War One.

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Journal articles on the topic 'Music teachers in Australia'

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