Journal articles: 'Secondary school music'

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Cox, Gordon. "Secondary School Music Teachers Talking." Music Education Research 1, no. 1 (March 1999): 37–46. http://dx.doi.org/10.1080/1461380990010104.

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Abril, Carlos R., and Brent M. Gault. "The State of Music in Secondary Schools." Journal of Research in Music Education 56, no. 1 (April 2008): 68–81. http://dx.doi.org/10.1177/0022429408317516.

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The purpose of this study was to profile secondary school music programs in the United States and investigate principals' perceptions of those curricula. A survey form was sent to 1,000 secondary school principals, yielding a 54% response rate. That form was designed to answer the following questions: What is the profile of secondary music programs in the United States? How effective do principals think music programs are in helping students attain specific learning outcomes and broad educational goals? To what degree do certain variables (e.g., standardized tests, teachers, parents) impact a given music program? Ninety-eight percent of respondents indicated that their schools offered music courses, yet 34% required music. There were significant differences in the diversity of course offerings based on school socioeconomic status profiles. Standardized tests and No Child Left Behind were thought to have the most negative impact on music programs.

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Ho, Wai-chung. "Musical learning: Differences between boys and girls in Hong Kong Chinese co-educational secondary schools." British Journal of Music Education 18, no. 1 (March 2001): 41–54. http://dx.doi.org/10.1017/s0265051701000134.

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This paper presents an overview of boys' and girls' musical learning inside and outside school. This involves a sampling survey of 877 pupils (414 boys and 463 girls) in nine Chinese secondary schools. The paper argues that patterns of gender stereotyping associated with music among Hong Kong students have some similarities with those in the Western world. The impact of gender beliefs was most evident in types of instrumental learning, types of music activities, and listening and singing preferences. The subjects' attitudes towards the promotion of popular and Western classical musics in school emerged as statistically significant, while their attitude towards Chinese classical music was non-significant.

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Mills, Janet. "Starting at secondary school." British Journal of Music Education 13, no. 1 (March 1996): 5–14. http://dx.doi.org/10.1017/s0265051700002904.

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The quality of music teaching that pupils receive when they enter a new secondary school at the age of 11 years varies. The article considers the characteristics of unsuccessful and successful approaches to teaching in Year 7.

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Priest, Philip. "General Practitioners in Music: Monitoring Musicianship Skills Among Intending Secondary Teachers." British Journal of Music Education 13, no. 3 (November 1996): 225–32. http://dx.doi.org/10.1017/s0265051700003259.

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Music graduates choosing secondary school teaching as a career and training through one-year post-graduate courses are drawn from an increasingly wide range of degree studies in music and embark on their training year with diverse specialisms and music skills. Yet these students will need to operate as generalists in schools with an ever-widening music curriculum. In this account of procedure in one institution, a view is given of the applied musicianship needed by new teachers and discussion of this invited from all providers of post-school music education and training. Data collected from students who may soon be responsible for music in a school indicate a trend towards improvement in only some areas of musicianship.

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Stowell, Dan, and Simon Dixon. "Integration of informal music technologies in secondary school music lessons." British Journal of Music Education 31, no. 1 (August 28, 2013): 19–39. http://dx.doi.org/10.1017/s026505171300020x.

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Technologies such as YouTube, mobile phones and MP3 players are increasingly integrated into secondary school music in the UK. At the same time, the gap between formal and informal music learning is being bridged by the incorporation of students’ preferred music into class activities. We conducted an ethnographic study in two secondary schools in London, investigating the roles of technology in the negotiation of musical concepts in music classes. From this, we report some observations on the relation between formal/informal and authorised/unauthorised activities in class, and some specific observations on the role of YouTube, mobile phones and MP3 players in the class context. In the lessons we observed, these technologies functioned as part of a richly multimodal ecosystem of technologies, combining aspects of formal and informal use. This carries implications for how we plan for the use of technology in the delivery of music education.

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Kibici, Volkan Burak. "An Analysis of the Relationships between Secondary School Students' Creativity, Music Achievement and Attitudes." International Journal on Social and Education Sciences 4, no. 1 (January 15, 2022): 87–100. http://dx.doi.org/10.46328/ijonses.304.

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This study aimed to investigate secondary school students’ music achievement, attitudes towards music and creativity based on the variables of gender, school type, grade level and achievement. A causal-comparison design was used for this study. 246 secondary school students studying in some schools in Mersin and Konya provinces were randomly selected by using convenience sampling method. Data were collected through Kaufman Creativity Test, Music Achievement Scale and Music Lesson Attitude Scale. Data were analyzed using independent samples t-test, one-way analysis of variance and regression analysis techniques. The results revealed that female students had higher creativity scores based on attitude towards music lessons and artistic performance. Significant differences were found in music achievement, attitude and creativity mean scores in terms of school type, grade level and achievement of students. Finally, there were significant relationships between the creativity levels of secondary school students and their music achievements and attitudes. Considering the results obtained, suggestions for implementation were provided.

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Blackford, Lena. "Musical education in Russian secondary schools." British Journal of Music Education 14, no. 1 (March 1997): 57–67. http://dx.doi.org/10.1017/s0265051700003442.

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This paper reviews the traditions of teaching school music in Russia and focuses on the music curriculum for comprehensive schools elaborated by the Russian Academy of Pedagogical Sciences. New teaching methods continue to be developed and, despite economic difficulties in Russia, the number of institutes of higher music education remains high compared to that in other countries. As a result Russia has, perhaps, a greater number of highly-qualified musicians, teachers and performers than any other country in the world.

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Culp, Mara E., and Matthew Clauhs. "Factors that Affect Participation in Secondary School Music: Reducing Barriers and Increasing Access." Music Educators Journal 106, no. 4 (June 2020): 43–49. http://dx.doi.org/10.1177/0027432120918293.

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Students often enter secondary schools with increased autonomy over course selection and how they meet graduation requirements. Those who once participated in school music may discontinue music studies for a variety of reasons. Music teachers should be mindful of factors that may affect a student’s ability or desire to participate in school music. This article discusses these factors and suggests practices to increase access to music education for all students. By examining practices and considering ways they can be altered or expanded to provide more options and be more inclusive, music educators may be able to provide more opportunities for all students.

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BOURA, VASSILEIA. "The Learning Effect of Electroacoustic Music in Secondary Education An Interdisciplinary Practice in Greek Schools." Volume 5 - 2020, Issue 9 - September 5, no. 9 (September 25, 2020): 562–74. http://dx.doi.org/10.38124/ijisrt20sep464.

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In the rise of the 21st century, the music educator in modern schools is challenged to educate and train students in both conventional and contemporary music theory and practice. The contemporary approach to music learning and composition requests knowledge and practical skills from interdisciplinary fields. Electronics, physics, mathematics, computer science and music are merged to produce different contemporary styles of music. Students, in secondary education, are challenged to develop listening, performing and computer music skills, to expand their musical aesthetics and culture, together with their musical memory. Music educators are expected to teach a wide range of musical styles and techniques. Science and technology are parts of the musical practice in schools. Music has become an interdisciplinary subject, capable, more today than ever, to educate and shape personalities in school and for preparing students to be strong and healthy for entering society. Scientific and empirical research continues to be conducted to provide helpful guidelines for teachers' intentional use of music, in every class. This paper provides music educators with successful and valuable methods for incorporating electroacoustic music into the teaching and learning school environment applicable to secondary school settings

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Ng, Hoon Hong. "Enabling Popular Music Teaching in the Secondary Classroom – Singapore Teachers' Perspectives." British Journal of Music Education 35, no. 3 (March 19, 2018): 301–19. http://dx.doi.org/10.1017/s0265051717000274.

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The pervasiveness of popular music and its associated practices in current youth cultures brings into question the relevance and effectiveness of more traditional music pedagogies, and propels a search for a more current and engaging music pedagogy informed by popular music practices. With this as the basis, this study seeks to explore factors that may enable the success and effectiveness of popular music programmes in public schools through the lenses of three Singapore secondary school teachers as they conducted their popular music lessons over seven to ten weeks. In the process, the study also describes how these teachers pragmatically negotiated the execution of these programmes within Singapore's unique educational context. The findings may serve to inform music teachers and school leaders keen to establish similar programmes as a matter of on-going dialogue.

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Odam, George. "Teaching composing in secondary schools: the creative dream." British Journal of Music Education 17, no. 2 (July 2000): 109–27. http://dx.doi.org/10.1017/s0265051700000218.

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Composing is an obligatory activity at Key Stage 3 in the present National Curriculum in music for England and for Wales. The research programme, based on field visits, seminars and questionnaires, seeks to identify a basis for effective classroom practice through direct observation of experienced teachers and their pupils in twenty-six State secondary schools across England. Visits have also been made to Northern Ireland, Scotland and Wales. Group-work is the dominant working method in most secondary schools. Much time is at present wasted in group-work and it contributes significantly to stress in both teachers and pupils. Composing is largely an individual activity and this is insufficiently acknowledged or planned for at Key Stage 3. Too many teachers use methods inappropriate to the resources available to them. There are problems of progression and preservation of pupils' work. Despite these problems there is strong evidence that many children enjoy composing activities in school and compose music in and out of school for a variety of reasons and occasions. Composing is firmly established in our music education curriculum and provides a unique feature of practice in the United Kingdom. When composing is taught well, pupils look forward to their music lessons in the secondary school and approve of and enjoy composing activities.

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Ustinskovs, Jevgeņijs. "Kinds of Improvisation Activity in Music Secondary Schools." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 9, 2015): 163. http://dx.doi.org/10.17770/sie2012vol1.32.

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Pedagogical experience and findings of different scholars testify to the fact that mastering improvisation can be based on essentially different didactic approaches. Therefore, at developing the didactic model of mastering improvisation in music secondary school, a necessity arises to study kinds of improvisation activity and define the more important kinds of improvisation activities for mastering improvisation in music secondary schools. The research method: analysis of literature, analysis of the author’s pedagogical experience. We consider that for mastering improvisation at music school, it is essential to use such kinds of improvisation activities as: rhythmic and rhythmic-melodic improvisation; imagery improvisation; total and partial improvisation; continuous and episodic improvisation; solo and collective improvisation; musical improvisation on various instruments; improvisation in other arts; technology-based improvisation activities.

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Boyle, J. David. "Program Evaluation for Secondary School Music Programs." NASSP Bulletin 76, no. 544 (May 1992): 63–68. http://dx.doi.org/10.1177/019263659207654413.

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Major, Angela E. "Appraising composing in secondary-school music lessons." Music Education Research 10, no. 2 (June 2008): 307–19. http://dx.doi.org/10.1080/14613800802079171.

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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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Pendergast, Seth, and Nicole R. Robinson. "Secondary Students’ Preferences for Various Learning Conditions and Music Courses: A Comparison of School Music, Out-of-School Music, and Nonmusic Participants." Journal of Research in Music Education 68, no. 3 (June 22, 2020): 264–85. http://dx.doi.org/10.1177/0022429420931826.

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This study was an investigation of middle and high school students’ preferences for various music learning conditions and secondary music course offerings. The stratified random sample included students who were and were not enrolled in school music classes ( N = 827). Participants represented secondary school music students ( n = 369), students who only participate in music outside of school ( n = 254), and nonparticipants in music ( n = 204). The research questions for this study concerned students’ preferences for teacher role, group size, and repertoire in the music classroom as well as interest in six different secondary music courses. Findings showed out-of-school music participants and nonparticipants had a stronger preference for small group learning environments and repertoire choice when compared to school music participants. In-school and out-of-school music participants expressed similar levels of interest in four music course offerings and ranked them as follows: (1) piano/guitar class, (2) music composition with technology class, (3) popular music groups, and (4) music history/theory class. In-school and out-of-school music participants differed on only two course offerings: large ensembles and world music groups. In-school music participants expressed high interest in large ensembles, whereas out-of-school music participants conveyed a lower interest in large ensembles.

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Manchester, Ralph A. "Promoting Health in Post-Secondary Music Schools." Medical Problems of Performing Artists 21, no. 3 (September 1, 2006): 95–96. http://dx.doi.org/10.21091/mppa.2006.3020.

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The Special Article in this issue of Medical Problems of Performing Artists has the potential to usher in a new era in improving the lives of musicians (and potentially other performing artists) around the world. The Health Promotion in Schools of Music conference that was held in Texas in the fall of 2004 brought together a rich mixture of music and performing arts medicine professionals. Stimulated by the new National Association of Schools of Music accreditation standard that requires undergraduate music students to receive instruction in injury prevention and occupational health promotion, participants in the conference worked diligently for 3 days to discuss what we know, what we don't know, and how to approach the vital yet immensely complex issue of health promotion and injury prevention for college-level music students. While the recommendations in the Special Article are intentionally broad and allow each school to develop its own program, they are based on a true state of the art analysis of the field.

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Yao, Jiacheng, and Pranote Meeson. "Research on Innovative Practice of Midi Music Production in Music Class of Primary and Secondary Schools." Arts Studies and Criticism 3, no. 2 (July 1, 2022): 132. http://dx.doi.org/10.32629/asc.v3i2.854.

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Under the new curriculum reform, there are higher requirements for music teaching in primary and secondary schools in information technology based teaching, which also provides channels and platforms for the application and practice of Midi and music software in classroom teaching, and thus becoming one of the important content of music classroom reform in primary and secondary schools. In this study, the Midi music based theory knowledge is introduced with probes into the concrete methods for Midi music production. Through the computer music works creation practice, students can understand the Midi music production process so as to independently make a relatively complete works of music, improving primary and secondary school music classroom teaching effect.

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Dobrota, Snježana, and Ina Reić Ercegovac. "Music preferences with regard to music education, informal influences and familiarity of music amongst young people in Croatia." British Journal of Music Education 34, no. 1 (October 25, 2016): 41–55. http://dx.doi.org/10.1017/s0265051716000358.

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The aim of this research was to investigate the relationship between music preference and music education, informal influences (attending classical music concerts and musical theatre productions) and familiarity of music. The research included students of the Faculty of Humanities and Social Sciences, University of Split (N=341)1. The results showed that participants usually listen to popular music in their leisure time and that popular music is their most preferred music style. A positive relationship between familiarity and preferences was found but this effect was not unambiguous. A relationship between music preferences and secondary school music education was not found, but those participants who attended music school preferred some music styles more than did those participants who did not attend music school. There was a significant correlation found between the frequency of attending classical music concerts and preferences for classical music, jazz and world music. Finally, the results indicated that people who frequently attend musical theatre productions have significantly higher preferences for jazz and world music. The authors pointed to the problem of unattractiveness of music lessons in secondary schools and suggest possible solutions to the problem.

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Bowman, Wayne D. "Music Education and Post-Secondary Music Studies in Canada." Canadian University Music Review 21, no. 1 (March 4, 2013): 76–90. http://dx.doi.org/10.7202/1014479ar.

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This essay questions the efficacy of conventional disciplinary boundaries in post-secondary music studies, boundaries that reductively define music education as a training ground for public school music teachers. Our expectations of music education and its sphere of influence have been far too modest. To the extent we segregate music education from the goals and objectives of music studies more broadly, we neglect our collective responsibility for the musical life of our country. We have focused inwardly, engrossed in our specialties, leaving the design of school music curricula and the fragile environments in which they must compete for survival to the whims of non-musician bureaucrats and politicians. We have been less than successful in our collective obligation to enhance the musical well-being of the country. Changing these circumstances is among our greatest challenges in the decades ahead.

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Zelenak, Michael S. "Measuring the Sources of Self-Efficacy Among Secondary School Music Students." Journal of Research in Music Education 62, no. 4 (December 17, 2014): 389–404. http://dx.doi.org/10.1177/0022429414555018.

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The purpose of this study was to investigate the four sources of self-efficacy in music performance and examine responses from the Music Performance Self-Efficacy Scale (MPSES). Participants ( N = 290) were middle and high school music students from 10 schools in two regions of the United States. Questions included the following: (1) How much influence does each source have on self-efficacy? (2) Are there differences among band, chorus, and string students? (3) Are there differences between middle and high school students? (4) Does music aptitude predict self-efficacy, and (5) Does evidence support the MPSES as a valid and reliable scale? Results indicated that mastery experience exerted the strongest influence, no differences were found among ensemble types or grade levels, and music aptitude scores predicted modest increases in self-efficacy, β = .16 (.07). Examination of test content, response process, internal structure, and relationships with other variables provided evidence of validity, while internal consistency and test-retest values provided evidence of reliability. Recommendations for further research included examining the development of self-efficacy at different ages, measuring the relationships between the sources of self-efficacy and music achievement, and using the MPSES to assist in the investigations of other psychological constructs, such as self-identity and motivation.

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Lamont, Alexandra, David J. Hargreaves, Nigel A. Marshall, and Mark Tarrant. "Young people's music in and out of school." British Journal of Music Education 20, no. 3 (October 29, 2003): 229–41. http://dx.doi.org/10.1017/s0265051703005412.

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This article examines the perceived and documented problems of school music, particularly at secondary level, through a study of young people's music in and out of school. Four issues are explored: teachers' approaches to music in school; pupils' levels of engagement in musical activities in and out of school; pupils' attitudes to music in and out of school; and pupils' aspirations in music. A Pupils' Music Questionnaire was administered to 1,479 pupils in Years 4, 6, 7 and 9 (aged 8–14 years) from 21 schools in England; Teacher Interviews were conducted with 42 head teachers and teachers responsible for music in all these schools; and follow-up Music Focus Groups were conducted with 134 pupils from the original sample. In contrast to earlier research, both teachers and pupils across the sample demonstrated very positive attitudes towards music, whilst also acknowledging constraints on good practice. Music listening formed an important part of pupils' lives, but music making was more prominent than suggested by previous research. Commitment to musical activity seemed more robust out of school than in school, and it is suggested that involvement in musical activity may be transitory for some children and adolescents.

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Chen, Li. "Exploration of Development Strategies of the Music Education in Secondary School from the Perspective of Post-Philosophical Culture." SHS Web of Conferences 157 (2023): 03027. http://dx.doi.org/10.1051/shsconf/202315703027.

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Since the 1960s and 1970s, the aesthetic-centered music education system in Secondary School has been increasingly mature, while the post-philosophical culture has brought about an obvious impact on the ideas of music education in Secondary School. From the post-philosophical cultural perspective, it is important for us to reflect on the return of music education in Secondary School to the world of life, to explore the practical philosophical tendency of music education, to emphasize the pursuit of pluralistic dialogue, and to promote the integration of multiple cultures. In the specific implementation of music education teaching process in Secondary School, it contains the interdisciplinary multi-level and multi-perspective dialogue thinking between teachers and students, between teachers and students and music text and between students. The development strategies of music education in Secondary School in the post-philosophical cultural perspective are to emphasize the practicality of music education, to cultivate a pluralistic and value-oriented view of education for the subject, to expand the horizon of interdisciplinary dialogue and to pay attention to interdisciplinarity.

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Yunwenting, H. "The methodological aspect of music teaching in China on the example of the fifth secondary school in Songshan district." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 139–42. http://dx.doi.org/10.30725/2619-0303-2020-3-139-142.

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This article was created because of attending classes of seventh and eighth graders at the 5th Middle School in Chifeng City, Songshan District, PRC in 2018. After studying and analyzing the materials and experience of music teachers in this class, the article describes the music lessons that are being conducted and presents some recommendations for the development of music education in Chinese secondary schools. This work is the second in a series of articles on music education in China (the first was devoted to the methodology of teaching music lessons in elementary school).

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Russell, Joshua A., and James R. Austin. "Assessment Practices of Secondary Music Teachers." Journal of Research in Music Education 58, no. 1 (April 2010): 37–54. http://dx.doi.org/10.1177/0022429409360062.

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The purpose of this study was to survey assessment and grading practices employed by secondary music teachers throughout the southwestern region of the United States. Three main research questions guided the study: (1) What types of school district frameworks and classroom contexts are secondary music teachers operating within? (2) Which specific assessment and grading practices are employed most commonly by secondary music teachers? (3) Do any contextual or individual difference variables influence secondary music teachers’ assessment and grading practices? Two mailings yielded 352 total usable questionnaires (36%) with a sampling error of +/—5%. Participants reported that their school districts emphasized letter grades and that music course grades were equally weighted with other course grades in calculating student grade point averages and generating credit toward graduation. Yet, music teachers seldom received administrative guidance or altered assessment approaches due to standards-based curriculum adoption. Participants based grades on a combination of achievement and non-achievement criteria, with non-achievement criteria receiving greater weight in determining grades. Although instructional time, number of students taught, and number of concert performances prepared/ given had no substantive relationship with assessment decisions, grading practices were influenced by teaching level and teaching specialization.

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Major, Angela E. "Talking about composing in secondary school music lessons." British Journal of Music Education 24, no. 2 (July 2007): 165–78. http://dx.doi.org/10.1017/s0265051707007437.

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This paper reports an action research study of teacher and pupil talk about composing. Data were collected through video and audio recordings of composition lessons in a secondary school. Qualitative analysis of the data led to the development of a ‘typology of pupil talk about composing’ which distinguishes between six main types: exploration, description, opinion, affective response, evaluation and problem solving. The results of the study suggest that as children engage and empathise affectively and acquire ownership of their work, they appear to be able to talk more confidently about it. As children make sense of their work, they may well be able to understand more than their talk reveals. The role of teachers in nurturing talk about composing work in the classroom is considered in relation to the findings. By designing appropriate composing tasks, they may be able to promote the development of more mature forms of evaluative talk in younger children, and of their critical listening and appraising skills. The development of more mature, ‘higher’ forms of evaluative talk in younger children might be promoted by teachers in designing composing tasks.

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Welch, G., R. Purves, D. Hargreaves, and N. Marshall. "Early career challenges in secondary school music teaching." British Educational Research Journal 37, no. 2 (April 2011): 285–315. http://dx.doi.org/10.1080/01411921003596903.

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Lee, William R. "Charles H. Farnsworth's “Music in the Secondary School”." Journal of Historical Research in Music Education 24, no. 1 (October 2002): 39–61. http://dx.doi.org/10.1177/153660060202400103.

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Crawford, Renee. "An Australian Perspective: Technology in Secondary School Music." Journal of Historical Research in Music Education 30, no. 2 (April 2009): 147–67. http://dx.doi.org/10.1177/153660060903000205.

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Bo Wah Leung and Gary E. McPherson. "Students’ motivation in studying music: The Hong Kong context." Research Studies in Music Education 32, no. 2 (December 2010): 155–68. http://dx.doi.org/10.1177/1321103x10384205.

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Studying music in schools has not been regarded to be important for Hong Kong students and parents. Similar to many other countries and regions, music is marginalized in the school curriculum. However, facing the 21st century, the Hong Kong government regards arts education to be an important contribution to the creative industries. The motivation of students in learning music thus becomes more critical. This article reports data drawn from an international study that examined students’ motivation to study music as compared to other school subjects across the school grades. A total of 4495 students from 23 primary and 20 secondary schools participated in a survey. Results indicate a significant decline in competence beliefs and values ( p < .001) and a significant increase in task difficulty for music and other school subjects across the school levels. Compared with Chinese, mathematics, visual arts and physical education (PE), music was ranked rather low in terms of competence beliefs and values, and task difficulty. In addition, there is a trend towards many secondary students learning instruments outside schools. Results may be attributed to a range of factors including a utilitarian view of education held by parents and students and the overall business-oriented atmosphere of the society, in that people focus on financial success rather than a holistic human development.

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BOURA, VASSILEIA. "The Effect of Electroacoustic Music in Enhancing Interpersonal Relationships in School Community An Empirical Research for Secondary Education." Volume 5 - 2020, Issue 9 - September 5, no. 9 (October 3, 2020): 891–900. http://dx.doi.org/10.38124/ijisrt20sep511.

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Electroacoustic music, as the contemporary art of sounds originating from the human environment, is selected to play a unifying role of interdisciplinary study areas in school, but also be the vehicle for the school community to form links with the wider society for enhancing students' learning, emotional skills and carrier orientation. Electroacoustic music learning methods are empiricaly proved to play an important role in students' education and in future citizens' attitude and ethics. This paper is based on empirical practices and statistically analysed results. Previous studies, worldwide, have shown a positive relationship between music and academic achievement. This study explores the possible reasons why electroacoustic music positively affects interpersonal relationships in school environment. Educators and curriculum developers may want to include electroacoustic music in their instructional units, on an international level. Bioscientists and psychologists may extend this empirical research to scientific. Since 2012 different empirical educational programmes in Greek European and public schools under the auspices of the Hellenic Ministry of Education and Religious Affairs, have aimed to enhance learning and intra-school interpersonal relationships in Secondary Education. The programmes reffered to in this paper discribe the results of electroacoustic music effect on interpersonal relationships in the school environment.

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Ho, Wai-Chung. "Secondary school students’ preferences for popular music and perceptions of popular music learned in school music education in Mainland China." Research Studies in Music Education 39, no. 1 (April 5, 2017): 19–37. http://dx.doi.org/10.1177/1321103x17700688.

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This study examined popular music and school music education as cultural constructs of teenage students amid the shifting cultural and social dynamics of contemporary China. Data were drawn from questionnaires completed by 6,780 secondary students (mainly ages 12 through 17) from three cities—Beijing, Changsha, and Shanghai. The survey results revealed the extent of Chinese youths’ preferences for a variety of popular music styles in their daily lives, the relationship between their preference for popular idols and their music learning, and their views on learning popular music in school music education. The discussion in this article focuses on the dynamics of teaching popular music and learning other music styles (not limited to either popular or classical music) within the school environment in relation to teenage students’ daily music experiences and school music learning, school music teachers, and teacher education in contemporary China.

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Bucura, Elizabeth. "Fostering Self-Efficacy Among Adolescents in Secondary General Music." General Music Today 32, no. 3 (March 7, 2019): 5–12. http://dx.doi.org/10.1177/1048371319834080.

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In secondary general music classes, adolescent musicianship can be stifled by poor self-efficacy. Although adolescents typically lead lives rich with music, they may believe that these interests and experiences do not apply within school settings, may become preoccupied with images of seeming musical perfection, and may even perceive themselves to be unmusical. Societal messaging and school music programs themselves may unfortunately enhance these views. Four sources of self-knowledge that inform self-efficacy provide considerations and approaches for secondary general music teachers.

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Macgill, Andrew. "Composing in the School: Composing for the School." British Journal of Music Education 5, no. 1 (March 1988): 35–43. http://dx.doi.org/10.1017/s0265051700006318.

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This article describes some of the experiences of, and lessons learnt by a composer working as Head of Music in a secondary school. The article highlights in particular aspects which are considered to be of value to teachers and other colleagues now embarking on a new era of musical education in schools, notably aspects relevant to the composing component in public examinations. The text includes details of a recording of newly composed music.

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Thorpe, Vicki. "Assessing complexity. Group composing for a secondary school qualification." British Journal of Music Education 34, no. 3 (September 7, 2017): 305–20. http://dx.doi.org/10.1017/s0265051717000092.

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This article examines a unique music curriculum and assessment environment through the findings of a practical action research project carried out in secondary schools. I address two current international educational issues: the relationship between formal and informal learning in music, and how individuals’ contributions in collaborative groups might be summatively assessed. Following this I present a model of group composing and explain how it was used as a pedagogical tool in secondary music classrooms. The purpose of this was to help students and their teacher to conceptualise collaborative composing, thereby leading to a clearer understanding and more valid assessment of the processes in which they were engaged.

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Wise, Stuart. "Secondary school teachers’ approaches to teaching composition using digital technology." British Journal of Music Education 33, no. 3 (November 2016): 283–95. http://dx.doi.org/10.1017/s0265051716000309.

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The music industry in the 21st century uses digital technology in a wide range of applications including in performance, in composition and in recording and publishing. In this article, I consider how the impact of digital technologies may be affecting pedagogical processes adopted by secondary music teachers, particularly in the area of composition. This paper examines qualitative data gathered from teachers in four schools participating in a larger research project. Data collected in this paper came from a number of semi-structured interviews. Findings indicate that although the majority of teachers involved in this research remain fundamentally conservative in their approaches to teaching composition, focusing on more procedural rather than creative activities, some music teachers do make radical changes to their pedagogy in contexts where this is important to their students’ engagement and supported by their school.

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Palkki, Joshua. "“My voice speaks for itself”: The experiences of three transgender students in American secondary school choral programs." International Journal of Music Education 38, no. 1 (December 11, 2019): 126–46. http://dx.doi.org/10.1177/0255761419890946.

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With the purpose of furthering lesbian, gay, bisexual, transgender, queer, questioning, and allies/agender/asexual (LGBTQA) dialogue in music education and to improve choral instruction for trans(gender) students, this multiple narrative case study explores the experiences of trans students in secondary school choral music programs in the United States. The emergent research design employed narrative and ethnographic techniques to honor and highlight voices of the three participants. The connection or lack thereof between voice and gender identity was different for each student. The policies of the students’ school districts, school officials, choral programs, and state music organizations shaped and influenced the participants as they navigated their trans identity within the high school choral context. Mentors (including teachers) and other “important others” helped these students as they traversed their gender journeys. From this research, it emerges that schools and choral programs can make policy changes to better serve trans youth, and more professional development and incorporation of (trans)gender issues is necessary for choral music educators.

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Kokotsaki, Dimitra. "Pupil voice and attitudes to music during the transition to secondary school." British Journal of Music Education 34, no. 1 (October 24, 2016): 5–39. http://dx.doi.org/10.1017/s0265051716000279.

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Pupil voice research has been recognised in the last 15 years for its potential to re-shape the conditions of learning and help raise child engagement and standards of achievement. In music education, however, there still seems to exist a misalignment between the content of the curriculum and pupils’ learning expectations and interests. The aim of this study was to explore pupils’ views about school music during the transition to secondary school and identify which components of their music lessons contribute to them feeling happier about music at school. The analysis of interview and questionnaire data revealed some pupils’ disillusionment about music at the beginning of secondary school when their initial high expectations about opportunities for practical musical involvement were not met.

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Soycan, Merve, and Feyzan Göher Vural. "The relationship between secondary school grade point average scores and musical interest in Turkey." International Journal of Human Sciences 12, no. 2 (December 9, 2015): 1568. http://dx.doi.org/10.14687/ijhs.v12i2.3372.

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In Turkish educational system, students’ secondary school grade point average (GPA) scores constitute the basic criteria in determining the high schools they will next attend. Students, who start their high school careers based on this grade, receive their education together with peers who have similar GPA scores. In these pivotal years which play a significant role in developing character, teenagers not only affect each other through interaction, but also shape their likes and dislikes collectively during this high school period. Music interest in students is also shaped during this process. This descriptive study has been conducted at nine high schools in central Konya. The sample group includes a total of 626 students, 195 of whom are from three high schools with high GPA scores, 193 from three high schools with average GPA scores, and 238 from three high schools with low GPA scores. The results of the study reveal not only certain similarities between the student groups, but also significant difference between the groups in terms of the will to play a musical instrument, the music genres the students prefer to listen, singers and bands the students follow, and whether or not to choose music as a career path.

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Rodrigues, Matilde A., Sandra Gonçalves, Paula Neves, and Manuela V. Silva. "Sound Exposure of Secondary School Music Students During Individual Study." Medical Problems of Performing Artists 34, no. 2 (June 1, 2019): 98–101. http://dx.doi.org/10.21091/mppa.2019.2012.

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Music students can be exposed to high sound pressure levels (SPLs) during classes, which can result in hearing damage. However, individual study can also boost their exposure. This short presentation aims to describe the SPLs to which secondary school music students are exposed during individual study, as well as the circumstances in which practice is carried out. The study involved 16 young music students, aged 12–15 yrs old. SPLs were monitored during individual study at school and at the students’ homes. Measurements were performed throughout rehearsals over a 3-week period. The results show that music students are exposed to high SPLs during the individual study, with potential for it to increase, depending on the type and features of the rooms used for practice. Students were not entirely aware of the health risks related to exposure to high SPLs during individual practice, and hearing protection was never used by them. These findings denote that hearing conservation programs targeting music students should also focus on the risks to which they are exposed during individual study in different settings.

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Çelenk, Koray. "Evaluation of Perceptions of Secondary School Students About the Concept of “Music” by Metaphors." Journal of Education and Training Studies 7, no. 9 (July 9, 2019): 70. http://dx.doi.org/10.11114/jets.v7i9.4304.

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Metaphor is associated with expressions such as symbolic expression, connotation and simile. Metaphor is the use of similes to liken, compare and explain something with another. The concepts have been tried to be analyzed through metaphors in many studies. Although studies on the analysis of metaphors in different branches and branches of studies are frequently encountered, studies on analysis through metaphors in music and music education are less common than other areas of education. This study aims to analyze the opinions of secondary school students about music concept by means of metaphors, and to determine the students’ perceptions regarding music and music lesson through metaphors and to give a different and effective direction to music education. The study group consisted of 1003 students attending at the 5th, 6th, 7th and 8th grades at nine secondary schools selected from Erzurum, Turkey in 2017-2018 academic year by Random Sampling method. The study was carried out by the Descriptive Research Model. In this study, Phenomenology, one of the qualitative research methods, was used and the data were processed by the Content Analysis method. The data obtained were digitized and analyzed by coding in SPSS packet program. As a result of this research, it was determined that secondary school students had a high interest and affection towards music and music lesson and their music preferences were pop music. In addition, 68 kinds of metaphors and 13 kinds of conceptual categories related to music were obtained from 1003 participants. It was found that the most frequently repeated metaphors were “Friend” and “Love”, and generally the students' perceptions were positive towards the concept of music and music lesson, and the metaphors produced differed according to gender, class and music preference variables.

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Warnet, Victoria. "An Investigation of the Music Literature Being Performed at Jazz Band Music Performance Assessments in Florida." Update: Applications of Research in Music Education 38, no. 2 (August 13, 2019): 29–36. http://dx.doi.org/10.1177/8755123319868827.

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The purpose of this study was to examine the performance trends of middle school, junior/senior high school, and high school ensembles at District Florida Bandmasters Association (FBA) Jazz Band Music Performance Assessments (MPAs) from 2012 to 2017. More specifically, this study investigated the pieces, composers, and arrangers most frequently performed, and how many schools participated. Data were derived from a pool of compositions performed at FBA District Jazz Band MPAs between 2012 and 2017 ( N = 5,664). Of the pieces performed, there were 1,816 different compositions played. The compositions performed featured 619 different composers and 249 different arrangers. Additionally, 47.78% of schools involved in FBA had at least one jazz band perform during the 5-year period analyzed in this study. Overall, findings suggested that secondary school jazz bands in Florida have grown in popularity.

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Mills, Janet. "Addressing the concerns of conservatoire students about school music teaching." British Journal of Music Education 22, no. 1 (March 2005): 63–75. http://dx.doi.org/10.1017/s0265051704005996.

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While most of the students who graduate each year from the Royal College of Music (RCM) in London build performance-based portfolio careers that include some teaching, very few of them enter secondary school class music teaching. This article describes how young musicians' concerns about the career of secondary class music teacher develop as they move from sixth former to first year RCM undergraduate to third year undergraduate, and proposes some ways in which these concerns may be addressed. RCM students often agree strongly with statements consistent with a positive attitude to teaching, such as feeling a sense of achievement when pupils learn, and considering that teaching is about helping pupils realise their musical potential. However, they also tend to think that secondary class music teaching is not ‘doing music’. Successful secondary music teachers may take a different view, and the effect on RCM students of working with such teachers is reported descriptively.

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Hewitt, Michael P. "Self-Efficacy, Self-Evaluation, and Music Performance of Secondary-Level Band Students." Journal of Research in Music Education 63, no. 3 (August 10, 2015): 298–313. http://dx.doi.org/10.1177/0022429415595611.

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In the present study, relationships between two components of self-regulation (self-efficacy and self-evaluation) and gender, school level, instrument family, and music performance were examined. Participants were 340 middle and high school band students who participated in one of two summer music camps or who were members of a private middle school band program. Students indicated their level of self-efficacy for playing a musical excerpt before performing it and then self-evaluated their performance immediately afterward. Findings suggest that there is a strong and positive relationship between self-efficacy and both music performance and self-evaluation. There was also a strong negative relationship between self-evaluation calibration bias and music performance, indicating that as music performance ability increased, students were more underconfident in their self-evaluations. Gender differences were found for self-evaluation calibration accuracy, as female students were more accurate than males at evaluating their performances. Middle school males were more inclined than females to overrate their self-efficacy and self-evaluation as compared to their actual music performance scores. These gender differences were reversed for high school students. There were no other statistically significant findings.

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Colquhoun, Shane. "Popular Music Genres, Music Producers, and Song Creation in the General Music Classroom." General Music Today 31, no. 2 (May 15, 2017): 17–20. http://dx.doi.org/10.1177/1048371317710311.

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In secondary general music classes, music educators have the opportunity to bridge the gap between the music students’ experiences in school and the music they engage with outside of school. According to Williams, nontraditional music students have musical lives outside of school but choose not to participate in traditional ensembles. In this article, I explore three teaching strategies that can be used to engage students with popular music. These strategies are through studying music genres, studying music producers, and listening to popular songs to distinguish if a song is a remake, cover, sample, remix, or an original song.

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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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Rivkin, Aaron. "Group Improvisation in Secondary School Instrumental Ensembles." Music Educators Journal 109, no. 1 (September 2022): 37–43. http://dx.doi.org/10.1177/00274321221112870.

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Group improvisation encourages students to improvise in a collective setting to build confidence in their individual and group improvisational skills. In this article, I describe group improvisation methods that offer an accessible entry into creative music-making for learners in secondary school instrumental ensembles. Instructional considerations and establishing a positive classroom environment are discussed.

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Svalina, Vesna, and Zrinka Šimunović. "Quality of Music Education in Croatian Music Schools: Students' Attitudes." International Journal of Educational Methodology 8, no. 4 (November 15, 2022): 759–67. http://dx.doi.org/10.12973/ijem.8.4.759.

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The purpose of this paper is to investigate how higher secondary music school students experience teaching, programs, and educational processes in music schools, which are the shortcomings and what are the suggestions for improving the system. The results show high satisfaction with attending music school related to the purpose of future professional orientation. Students see improvements in choosing more modern teaching topics, greater connection with practice, more time for student creativity, and work on improving teachers’ pedagogical skills. The results of this research could be used to accelerate the introduction of curriculum teaching and the National Curriculum for Art Education as a relevant document in music schools in the Republic of Croatia. Also, regardless of the inertia of the educational system, teachers can plan their teaching according to these results that will reconcile their ideas, methodological and didactic laws, and student expectations to contribute to greater motivation of their students.

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Li, Dong. "Music Therapy in Mental Health and Emotional Diversion of Primary and Secondary School Students." Occupational Therapy International 2022 (July 8, 2022): 1–12. http://dx.doi.org/10.1155/2022/8370682.

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The purpose of this paper is to provide a group music therapy intervention for elementary and middle school students with mood disorders through music therapy. To explore the improvement of group music therapy on the dysphoria and state of adolescent patients with mood disorders and to explore the relationship with self-identity. A music activity-based mental health education curriculum was designed based on the results of the current survey, while two homogenous classes were selected as the experimental and control classes; subsequently, the experimental teaching of the music activity-based mental health education curriculum was conducted in the experimental class, and the regular school mental health education curriculum was conducted in the control class, and the pre- and postexperimental scale tests were used to analyze that the curriculum of this study had a positive effect of this study’s curriculum on elementary school students’ positive emotions analyzed through pre- and postexperimental scale tests. The music activity-based mental health education program had a significant positive effect on the overall level of positive emotions of elementary school students, especially in the positive emotion index, happiness index, mental toughness, goal focus, and interpersonal assistance factor. The positive psychology-oriented music activity-based mental health education curriculum is well suited for elementary and middle school students, especially for upper elementary and middle school students. The music activity-based mental health education curriculum realizes the value of applying positive psychology to mental health education efforts at the elementary school level and flexibly uses a variety of related theories to promote positive emotional experiences for elementary and middle school students.

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Journal articles on the topic 'Secondary school music'

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