Teacher as Guide: The Teacher's Role in the Secondary School Music Lesson

1985 ◽  
Vol 2 (1) ◽  
pp. 5-18 ◽  
Author(s):  
Tim Cain
Keyword(s):  
Secondary School ◽  
Music Teachers ◽  
Music Curriculum ◽  
Music Lesson ◽  
Teacher’S Role ◽  
Music Lessons ◽  
School Music ◽  
Teacher's Role ◽  
Teaching Composition ◽  
And Performance

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).

OPINIONS OF SECONDARY SCHOOL MUSIC TEACHERS ON THE USE OF EBA (EDUCATIONAL INFORMATION NETWORK): SAMPLES OF ŞANLIURFA

2021 ◽  
Vol 7 (45) ◽  
pp. 2253-2264
Author(s):  
Cihan TABAK ◽  
Ümit BOZ
Keyword(s):  
Secondary School ◽  
Music Teachers ◽  
Descriptive Analysis ◽  
Structured Interview ◽  
Information Network ◽  
Music Lesson ◽  
School Music ◽  
Access Problems ◽  
Keywords Education ◽  
Academic Year

With this research, it is aimed to determine the opinions of secondary school music teachers about the use of EBA. In line with the purpose of the research, the opinions of secondary school music teachers were taken by using the scanning model. The study group of the research consists of 22 music teachers working in ġanlıurfa in the 2021-2021 academic year. In order to collect data in the research, a semi-structured interview form was applied to the teachers. The data obtained as a result of the application were processed and descriptive analysis was made. As a result of the research, teachers related to EBA; They frequently use 'Live Lessons', 'Lessons' and 'My Page' modules, EBA contributes to them and the students, they do not have access problems to EBA, but students have access problems, they prefer 'Mobile Application' when using EBA, ' It was concluded that they performed the 'Live Lesson' module over the 'Zoom' application and did not record it, that they did not find the music lesson contents in the EBA sufficient, that they produced content and made the contents produced outside of the EBA accessible to the students. Keywords: Education Information Network, Distance Learning, Music Lesson

Composing and performing in the key stage 3 classroom: a study using multi-trait, multi-method analysis

2013 ◽  
Vol 31 (1) ◽  
pp. 5-18 ◽  
Author(s):  
Andrew Fowler
Keyword(s):  
Secondary School ◽  
Convergent Validity ◽  
Music Teachers ◽  
Teacher Rating ◽  
Self Report ◽  
Musical Activity ◽  
School Music ◽  
Assessment Guidelines ◽  
And Performance ◽  
Musical Understanding

‘Music is both a creative and a performing art’ (Hallam, 2006, p. 70). Many musicians and music educators maintain that composing and performing, although related, are essentially different aspects of musical activity. In the professional musical sphere, composition and performance are almost invariably separated; academic studies have treated them discretely; GCSE and ‘A’ level specifications assess them distinctly, and many music teachers assess them in the classroom as if they were separate disciplines. It is common practice for students in the lower secondary school in England to work in a more integrated way, however (Philpott, 2001; Major, 2008), composing, performing to the class, and appraising each others’ work. Recently produced assessment guidelines for secondary school music teachers in England (NAME, 2011) encourage this more integrated view, accepting the assumption made by Swanwick and Franca (1999, p. 12) that ‘musical understanding is a broad conceptual dimension’ by considering composing and performing as inter-linked ways of demonstrating and communicating musicality. This study sets out to investigate the links between composing and performing in the secondary school classroom, through peer-rating, teacher rating and students’ self-report attitudinal questionnaires, analysing these using a multi-trait, multi-method technique.Evidence for convergent validity was found between performing and composing in the classroom, suggesting that they are closely linked and may indeed be related parts of the same trait. This may have implications for the ways in which composing and performing are taught and assessed. A larger-scale study could be undertaken to investigate this further.

Students’ motivation to engage in music lessons: The Cypriot context

2021 ◽  
pp. 1321103X2098530
Author(s):  
Chryso Hadjikou
Keyword(s):  
Secondary School ◽  
Music Education ◽  
Future Research ◽  
First Year ◽  
Music Curriculum ◽  
Music Lessons ◽  
School Music ◽  
Research Problems ◽  
Future Research Directions ◽  
First Time

Students’ motivation has often been the subject of discussion in the field of music education. This article reports on an exploration of students’ motivation during their first year of attending music lessons in Cypriot lower secondary schools (Year 7). This study was a longitudinal study tracking the students ( N = 170) over one academic year. The first questionnaire was completed as students entered secondary school and the second at the end of their first year when students had encountered the new Cypriot music curriculum for the first time. The findings indicate that students’ overall motivation by the end of their first year at secondary school had diminished. As noted in previous research, problems with student motivation in school music were persistent, notwithstanding changes to the curriculum. The implications of the findings to enhance students’ motivation were examined, and future research directions are discussed.

The Value of Learning Collective Free Music Improvisation: Preservice Music Educators’ Perspectives

2021 ◽  
Vol 30 (3) ◽  
pp. 40-53
Author(s):  
Hoon Hong Ng
Keyword(s):  
Music Teachers ◽  
Music Educators ◽  
Music Curriculum ◽  
Group Discussions ◽  
Music Improvisation ◽  
Free Improvisation ◽  
Entrepreneurial Skills ◽  
School Music ◽  
Collaborative Skills

I conducted a case study to explore preservice music teachers’ behaviors, thoughts, and feelings when engaged in collective free music improvisation. Nine preservice music teachers were taught how to freely improvise within groups as part of a teacher education course and participated in interviews and focus group discussions. Major themes highlighted learning across three segments that emphasized communication and collaborative skills, entrepreneurial skills and risk taking, and reconciliation and transformation. I concluded that the sociomusical outcomes produced by collective free improvisation may complement those of more formal and idiomatic improvisation practices, and that by introducing preservice music teachers to free improvisation activities, they may be more willing to engage PK–12 students in free improvisation lessons that enhance the existing school music curriculum.

scholarly journals Can the adoption of informal approaches to learning music in school music lessons promote musical progression?

2017 ◽  
Vol 34 (2) ◽  
pp. 127-151 ◽  
Author(s):  
Susan Hallam ◽  
Andrea Creech ◽  
Hilary McQueen
Keyword(s):  
Focus Groups ◽  
Music Teachers ◽  
Approaches To Learning ◽  
Musical Skills ◽  
Music Lessons ◽  
Stage 4 ◽  
School Music ◽  
The Impact ◽  
Three Phases

The aim of this research was to explore the impact of the adoption of the Musical Futures approach on the musical progression of students in Musical Futures’ Champion schools. The research took place over three years in three phases with 733 students and 28 music teachers completing questionnaires. Data from the interviews with 39 staff and focus groups of 325 students provided greater insights into the questionnaire responses. Overall, teachers reported that Musical Futures had enhanced the musical progression of their students and increased take up at Key Stage 4. In some cases this had led to changes in the qualifications on offer with an emphasis on those which were vocational rather than academic. This created some tensions in catering for the needs of different groups of students who had a range of different musical skills.

Australian super veteran secondary school music teachers: Motivated and valuable

2020 ◽  
Vol 38 (2) ◽  
pp. 226-239
Author(s):  
Jennifer Robinson
Keyword(s):  
Professional Development ◽  
Secondary School ◽  
Music Teachers ◽  
Demographic Data ◽  
Teaching Experience ◽  
Work Life ◽  
Work Life Balance ◽  
Career Stage ◽  
Life Balance ◽  
School Music

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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