Educational Change and the Secondary School Music Curriculum in Aotearoa New Zealand. Edited by Graham McPhail, Vicki Thorpe, and Stuart Wise (2018)

2018 ◽  
Vol 54 (1) ◽  
pp. 205-213
Author(s):  
Sean Scanlen
2012 ◽  
Vol 29 (3) ◽  
pp. 317-330 ◽  
Author(s):  
Graham McPhail

This paper discusses recent developments in the senior music curriculum in New Zealand. I suggest that school music is in transition from its clearly defined origins to its ‘regionalisation’ by new content and knowledge. The concepts of knowledge differentiation and verticality are considered in relation to the subject's now diverse range of curriculum segments, and I argue that the varied progression requirements of these segments combined with an ‘emptying out’ of significant aspects of knowledge within an outcomes-based curriculum presents significant challenges for curriculum construction and pedagogy. Also vying for space within the curriculum are elements of informal music learning. These challenges need to be carefully considered in light of recent social realist critiques which highlight the significance of the relationship between knowledge structures, curriculum, pedagogy and student access to powerful knowledge.


2011 ◽  
Vol 47 (4) ◽  
pp. 191-197 ◽  
Author(s):  
Simon J Denny ◽  
Sue Grant ◽  
Jennifer Utter ◽  
Elizabeth M Robinson ◽  
Theresa M Fleming ◽  
...  

2021 ◽  
Vol 121 (2) ◽  
pp. 174-188
Author(s):  
Rachael Dixon ◽  
Gillian Abel ◽  
Lisette Burrows

PurposeIn Aotearoa New Zealand, Health Education is socio-critical in orientation and is offered as a subject that can offer credits towards the national secondary school qualification. The purpose of this paper is to explore the learning experiences of people who studied Health Education to the final level of secondary schooling in Aotearoa New Zealand. The authors focus specifically on how the subject is taught; or the pedagogical practices that are “put to work” in the Health Education learning environment.Design/methodology/approachUsing in-depth interviews as the authors’ method of data production, they experiment with a post-qualitative approach to analysis while traversing the theoretical terrain of new materialism. In doing so, they explicate the non-human and human elements that are arranged in a pedagogical assemblage – and explore what these elements can do.FindingsThe authors found that an array of pedagogical practices were put to work in the senior secondary school Health Education classroom: Student-centred approaches, a non-judgemental and energetic tone to teaching, deployment of human and non-human resources, and students connecting with the community. The authors argue that these practices open up possibilities for a critical Health Education.Practical implicationsThis research addresses an empirical gap in the literature by focusing on Health Education in the senior secondary levels of schooling. The findings in this paper may provide readers who are Health Education teachers with ideas that could be of material use to them in their teaching practice. In terms of implications for researchers, the authors demonstrate how putting “new” theory and methodological approaches to work in the area of school-based Health Education can produce novel ways of thinking about the subject and what it can do.Originality/valueThe shifting nature of the pedagogical assemblage can ignite new ways of thinking about teaching practice in the Health Education classroom and the capacities that result for learners. In combination with a post-qualitative approach to analysis, the paper provides a novel approach to exploring Health Education.


1985 ◽  
Vol 2 (1) ◽  
pp. 5-18 ◽  
Author(s):  
Tim Cain

This article is an attempt to explore what we Secondary School Music Teachers should do in our music lessons. To illuminate this problem the author postulates two rôles which he believes many music teachers adopt more or less whole-heartedly: the ‘Instructor’, who passes on a body of received skills, information and perhaps values; and the ‘Enabler’, who sets up conditions in which his or her pupils may discover music.Although both rôles can be fruitful in some areas of the music curriculum, the author considers them inadequate, and attempts to describe a new role which teachers might find more helpful. He outlines ways in which the teacher who adopts this role might operate when teaching Composition, Literature Studies, Audition, Skills and Performance (C(L)A(S)P).


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