scholarly journals Topic choices: Revealing concealed processes of curriculum sequencing in English secondary school Music classrooms

2021 ◽  
Author(s):  
Anthony Anderson
2011 ◽  
Vol 8 (5) ◽  
pp. 608-623 ◽  
Author(s):  
Franziska Degé ◽  
Sina Wehrum ◽  
Rudolf Stark ◽  
Gudrun Schwarzer

Author(s):  
Jose Palazon Herrera

ABSTRACTEven though podcasting is a relatively new digital technology, it is becoming a tool of great value in the field of education. Although its possibilities are mainly being explored in post-secondary education, in recent years, the amount of studies and experiences in secondary education have incremented. In this communication we present a music class work experience where podcasts (mainly video podcasts) have been used to support musical interpretation. The data in this project indicates that students feel very motivated when using podcasts, a tool which comes from the 2.0 Web and that has a great potential for working on instrumental techniques.RESUMENAunque el podcasting es una tecnología digital relativamente nueva, se está convirtiendo en una herramienta de gran valor en el ámbito educativo. Aunque sus posibilidades están siendo exploradas principalmente en la educación superior, en los últimos años han ido apareciendo estudios y experiencias llevados a cabo en la educación secundaria. En esta comunicación presentamos una experiencia de trabajo en el aula de música utilizando podcasts (principalmente videopodcasts, podcasts de vídeo) de apoyo a la interpretación instrumental. Los datos de este trabajo indican que el alumnado se muestra muy motivado con el uso de podcasts, una herramienta proveniente de la Web 2.0 con gran potencial para el trabajo de la técnica instrumental. Contacto principal: [email protected]


2011 ◽  
Vol 37 (2) ◽  
pp. 285-315 ◽  
Author(s):  
G. Welch ◽  
R. Purves ◽  
D. Hargreaves ◽  
N. Marshall

1962 ◽  
Vol 49 (1) ◽  
pp. 70-70
Author(s):  
Victor Weidensee

2020 ◽  
Vol 38 (2) ◽  
pp. 226-239
Author(s):  
Jennifer Robinson

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.


1986 ◽  
Vol 3 (3) ◽  
pp. 341-352 ◽  
Author(s):  
Peter Owens

This article is a revised version of a talk given by the author before an international symposium on music education in Hortos, Greece, in 1985. It considers the current state of modern music, suggesting that there have been some important changes in direction since the avant-garde styles of the 1950s and 1960s; and it reflects on some of the implications of these changes for secondary-school music teaching.Some proposals are made for factors likely to facilitate the success of contemporary music which children hear or perform. In the original talk these points were illustrated with recorded examples, indicated here by numbers in the text. The role of children as contemporary composers themselves is also discussed in terms of the method and motivation by which creative work may be encouraged.The educational writers on whom the author bases much of his argument are clearly acknowledged throughout the text. Otherwise, opinions derive from experience of teaching and writing music for children in England and in France.


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