Developing an understanding of appraising music with practising primary teachers

1995 ◽  
Vol 12 (2) ◽  
pp. 127-158 ◽  
Author(s):  
Patricia Flynn ◽  
George Pratt

paper deals with a central concept in music education, that of ‘appraising’ music. Through a series of incidents surrounding the development of the Music National Curriculum this concept, new to many, was left undefined. Using research which shows how people cope with change and successfully take on innovations, a need for deeper information on what appraising entails, and the underlying principles involved, was identified – that is, the ‘how-to’ and ‘principles’ knowledge of appraising. The paper reports research carried out with a group of teachers to define the activity of appraising music in a way which takes account of real classroom situations and can be used by the 90% of primary teachers who are not music specialists. Because the definition is developed by teachers it is more likely to be understood by other teachers. The paper ends with an example of a programme of work which uses the developed understanding. This includes nine areas of appraising, an explanatory definition and four stages in the process of appraising as well as an understanding of progression in this activity using seven words to indicate progression and identifying a ‘putting in’ and ‘drawing out’ stage within this.The children's appraising and progression is discussed and the paper argues that, in choosing this term, the Music Working Group has identified the way in which we come to know and understand the processes involved in music and musical thinking within the three activities of Composing, Performing and Listening.

Author(s):  
Dennis Ping-Cheng Wang

This chapter outlines the historical background and current development of music education assessment in China. Following the revision of the national curriculum guidelines in 2011, the chapter analyzes (1) the value of the national standards at different school levels, (2) how the national standards affect teachers and schools, and (3) how much the teachers read/follow the guidelines in China. This chapter investigates and examines how assessment policy and practice are used in Chinese music classrooms from elementary, middle, and high schools. Furthermore, it discusses how local music teachers assess their music students and the effectiveness of the national curriculum guidelines used in music classes. The author determines that the current practice of music assessment at all school levels in China is too basic and not diversified. Designing a valid assessment that allows students at all levels to demonstrate their learning outcomes seems to be necessary for music education in China.


2021 ◽  
Vol 107 (4) ◽  
pp. 14-20
Author(s):  
Juliet Hess

In this article, I propose some ways that music educators might become anti-racist. I explore the ways that Whiteness manifests in music education and subsequently examine actions we might take to resist this Whiteness. Ultimately, I suggest anti-racism as a way forward for music education. I delineate some of the ways that Whiteness operates in music education, not to discourage educators but rather to encourage us to notice the way Whiteness pervades our field.


2021 ◽  
pp. 025576142098621
Author(s):  
Alethea Cassandra de Villiers

Cultural hegemony permeates society and is spread through social institutions. These institutions socialize people into the norms, values and beliefs of the dominant social groups. Moreover, cultural hegemony is spread and perpetuated through education in the form of compulsory education, a national curriculum, national assessments, as well as the hidden curriculum. The cultural hegemony of Western Art Music is established as the standard of music making and is institutionalized in education systems, national curricula and national assessment practices because it is inherent in ideologies and decision making. To counter the dominant hegemony, multicultural education philosophies have been adopted in democracies. The purpose of multicultural education is to change the dominant hegemony and bring about transformation in policy, attitudes, curriculum, assessment, the language of instruction, and strategies for learning and teaching. In this article, I discuss and compare music curricula from South Africa and Australia to determine how multiculturalism is manifested in the curriculum content for music in schools. I also suggest possible frameworks for curriculum developers in democracies to consider, which would subvert the status quo and establish a counter-hegemony.


Author(s):  
Emilia GIOL-CALEFARIU

Singing is the way of expression through which feelings, experiences, an ideational content are poetically expressed; in its absence the vocal qualities cannot justify the purpose of the interpretation. The topicality of music education for young performers is determined by an appropriate approach to the process of knowing the essential structure of singing, by understanding and mastering the multiple styles and ways of interpreting each genre, all in conjunction with an integration of historical views on the art of singing. Finding directions of orientation and thinking in the field of vocal interpretation, corroborated with the identification of some intrinsic values of it will contribute to achieving a stable foundation on which the lyrical artist can build a career in interpretation.


Author(s):  
Cathy Benedict

This book challenges and reframes traditional ways of addressing many of the topics we have come to think of as social justice. Offering practical suggestions for helping both teachers and students think philosophically (and thus critically) about the world around them, each chapter engages with important themes through music making and learning as it presents scenarios, examples of dialogue with students, unit ideas, and lesson plans geared toward elementary students (ages 6–14). Taken-for-granted subjects often considered sacrosanct or beyond the understanding of elementary students, such as friendship, racism, poverty, religion, and class, are addressed and interrogated in a way that honors the voice and critical thinking of the elementary student. Suggestions are given that help both teachers and students to pause, reflect, and redirect dialogue with questions that uncover bias, misinformation, and misunderstandings that too often stand in the way of coming to know and embracing difference. Guiding questions, which anchor many curricular mandates, are used throughout in order to scaffold critical and reflective thinking beginning in the earliest grades of elementary music education. Where does social justice reside? Whose voice is being heard, and whose is being silenced? How do we come to think of and construct poverty? How is it that musics become used the way they are used? What happens to songs initially intended for socially driven purposes when their significance is undermined? These questions and more are explored, encouraging music teachers to embrace a path toward socially just engagements at the elementary level.


2019 ◽  
Vol 33 (1) ◽  
pp. 71-87
Author(s):  
Kalpita Bhar Paul ◽  

In this age of environmental crisis, Jainism is regarded worldwide as one of the first religions to have developed an environmental ethic, based on its practice of ahiṃsā (nonviolence). This article attempts to critically engage with the concept of ahiṃsā in its recently evolving forms—from a religious concept to its current portrayal as an environmental ethic. By explaining how ahiṃsā becomes the central concept of Jainism, tying together its ethics, theology, and ecology, this article establishes that the current global portrayal of ahiṃsā by Jains, more than being driven by environmental concerns, is directed toward attaining liberation through reducing karmic impressions on souls. The article discerns the differences between Jain practice of ahiṃsā and ahiṃsā as an environmental ethos; it argues that to recognize ahiṃsā as an environmental ethic a broader reconceptualization is required beyond the way it is currently conceptualized in Jainism.


Sign in / Sign up

Export Citation Format

Share Document