The subject general knowledge of secondary music PGCE applicants

2003 ◽  
Vol 20 (1) ◽  
pp. 83-99 ◽  
Author(s):  
Vic Gammon
Keyword(s):  
National Curriculum ◽  
Art Music ◽  
General Knowledge ◽  
Subject Knowledge ◽  
Western Art ◽  
Body Of Knowledge ◽  
Secondary Music ◽  
Methodological Problems ◽  
The Subject ◽  
The Uk

In this paper I explore the musical general knowledge of 46 applicants for places on a secondary Postgraduate Certificate in Education (PGCE) music course. The applicants took a 35-question quiz designed to indicate something of their subject knowledge in connection with aspects of the Western art music tradition, knowledge of Western musical instruments and world musics. I will discuss methodological problems related to the use of the quiz results, then analyse the results. The analysis reveals patterns of strength and weakness in the subject knowledge of the applicants that are related to their educational and other musical experiences. Significant absences in areas of knowledge needed to teach the National Curriculum are detected. I then move on to consider the findings in the light of the new Benchmark Statement (QAA, 2002) for music degrees in the UK. Noting that no given body of knowledge is prescribed in the Benchmark Statement that both describes and governs the content of music first degrees, I raise questions about the difficulties this creates for all concerned.

Sound Pedagogy: Teaching listening since Cage

2015 ◽  
Vol 20 (2) ◽  
pp. 222-230 ◽  
Author(s):  
Adam Tinkle
Keyword(s):  
Analytical Framework ◽  
Art Music ◽  
Experimental Music ◽  
Sound Art ◽  
Western Art ◽  
Lived Space ◽  
The Everyday ◽  
History Of ◽  
The Subject ◽  
Western Art Music

This article proposes that teaching people how to listen is a central and underappreciated facet of post-Cagean experimental music and sound art. Under a new analytical framework that I call ‘sound pedagogy’, I trace a history of linguistic discourses about listening, from John Cage’s talking pieces to Fluxus text scores, Max Neuhaus’s soundwalks, R. Murray Schafer’s ear cleaning exercises and Pauline Oliveros’s Sonic Meditations. I show how all these artists attempt to transform auditory perception in the everyday life of the subject. A central debate here is whether this more ‘open’ listening should be viewed as a new, cultivated practice, or, more problematically, as a primordial condition to which we must return. Framed as a polemical antidote to our harmful auditory enculturation (which privileges Western art music and alienates us from potential auditory aesthesis in the lived space of daily life), these sound pedagogies are, as I will show, ripe for deconstruction and critique. Yet, more hopefully, they may also open up broader and more immediate forms of participation than Western art music has typically allowed.

The subject knowledge of secondary music PGCE applicants: a response

2003 ◽  
Vol 20 (3) ◽  
pp. 317-320 ◽  
Author(s):  
Gary Spruce
Keyword(s):  
Music Education ◽  
Music Students ◽  
Subject Knowledge ◽  
Interesting Article ◽  
Secondary Music ◽  
The Subject

The introduction of a ‘Points for Debate’ section in BJME is a welcome innovation. It provides a context in which important aspects of music education can be discussed in a friendly and temperate manner. It is in this spirit that I offer this response to Vic Gammon's interesting article concerning the subject knowledge of intending PGCE music students and how such knowledge might be identified.

Music after the Fall

2017 ◽  
Author(s):  
Tim Rutherford-Johnson
Keyword(s):  
New Media ◽  
Contemporary Music ◽  
The United States ◽  
Art Music ◽  
Sound Art ◽  
Musical Composition ◽  
Western Art ◽  
Wide Range ◽  
Definition Of ◽  
The Cold War

By the start of the 21st century many of the foundations of postwar culture had disappeared: Europe had been rebuilt and, as the EU, had become one of the world’s largest economies; the United States’ claim to global dominance was threatened; and the postwar social democratic consensus was being replaced by market-led neoliberalism. Most importantly of all, the Cold War was over, and the World Wide Web had been born. Music After The Fall considers contemporary musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media. Drawing on theories from the other arts, in particular art and architecture, it expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall. Each chapter considers a wide range of composers, performers, works, and institutions are considered critically to build up a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from South American electroacoustic studios to pianos in the Australian outback. A new approach to the study of contemporary music is developed that relies less on taxonomies of style and technique, and more on the comparison of different responses to common themes, among them permission, fluidity, excess, and loss.

Development of a Personal Values Scale For Tourism Using a Mixed Method

2020 ◽  
Vol 20 (4) ◽  
pp. 207-218
Author(s):  
Won Seok Lee ◽  
Joon Moon
Keyword(s):  
Mixed Method ◽  
Time Management ◽  
Cultural Value ◽  
Measurement Scale ◽  
Measurement Scales ◽  
Body Of Knowledge ◽  
Rest Time ◽  
Methodological Problems ◽  
Self Examination ◽  
Value Measurement

This study aims to develop cross-cultural value measurement scales that can overcome established methodological problems and test the dimensional frameworks of the scale with non-Asian respondents. It applies a mixed-method approach to observe intrinsic, nationally distinct values, and develop a generalized values measurement scale. This study found new value dimensions that were not present in the previous value studies (i.e., life balance, emotional growth, family union, and friendship) and provided segmented subdimensions (i.e., balancing between work and rest, time management, rewards of investment, and self-examination). This complements and enhances the current body of knowledge on value measurement.

Tiki Taane’s With Strings Attached: Alive & Orchestrated and postcolonial identity politics in New Zealand

2018 ◽  
Author(s):  
Oli Wilson
Keyword(s):  
New Zealand ◽  
Cultural Identity ◽  
Identity Politics ◽  
Performance Practice ◽  
Art Music ◽  
Western Art ◽  
Performance Group ◽  
Representational Practices ◽  
Colonial Experience ◽  
Television Documentary

This chapter explores how the New Zealand popular music artist Tiki Taane subverts dominant representational practices concerning New Zealand cultural identity by juxtaposing musical ensembles, one a ‘colonial’ orchestra, the other a distinctively Māori (indigenous New Zealand) kapa haka performance group, in his With Strings Attached: Alive & Orchestrated album and television documentary, released in 2014. Through this collaboration, Tiki reframes the colonial experience as an amalgam of reappropriated cultural signifiers that enraptures those that identify with colonization and colonizing experiences, and in doing so, expresses a form of authorial agency. The context of Tiki’s subversive approach is contextualized by examining postcolonial representational practices surrounding Māori culture and orchestral hybrids in the western art music tradition, and through a discussion about the ways the performance practice called kapa haka is represented through existing scholarly studies of Māori music.

(Re)organizing the music curriculum as multicultural music education

2021 ◽  
pp. 025576142098621
Author(s):  
Alethea Cassandra de Villiers
Keyword(s):  
Music Education ◽  
Multicultural Education ◽  
National Curriculum ◽  
Compulsory Education ◽  
Social Institutions ◽  
Cultural Hegemony ◽  
Multicultural Music Education ◽  
Learning And Teaching ◽  
Western Art ◽  
Policy Attitudes

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.

scholarly journals Comparative Study of Iran and the UK national curriculum based on the principles of Mind, Brain and Education

2019 ◽  
Vol 8 (1) ◽  
pp. 46
Author(s):  
Nazanin Reza Zadeh Mottaghi ◽  
Mahmoud Talkhabi
Keyword(s):  
Educational System ◽  
Teaching And Learning ◽  
National Curriculum ◽  
Quality Standard ◽  
Thinking Skills ◽  
Reflective Practices ◽  
Science Of Mind ◽  
High Quality Standard ◽  
The Uk ◽  
Collaborative Activities

This study compares the national curriculum of Iran and the UK to find out how the educational system indeveloping countries such as Iran can be improved. Because of implementing thinking skills and cognitive education,the educational system in the UK benefits from a high-quality standard. The science of mind, brain, educationintroduces some principles to improve teaching and learning methods and provide thoughtful and lifelong learnersfor the societies. In this study, we specified the main parts of the national curriculum in both countries and selectedsome of the principles to determine whether these two countries apply them in their national curriculum. Some ofthese principles focus on some significant issues: teaching models, the use of Meta-discipline and HolisticTechniques, authentic learning experiences, use of products, processing and progressing Evaluations, developingexplicit learning objectives, how to benefit from thinking and reflective practices, using collaborative and democraticactivities, preparing students to set personal objectives, giving themselves feedbacks, technology and flippedclassrooms, and beginning Year- Round Schooling. The results show that Iran needs more precise and detailedlearning objectives in its curriculum, use of democratic and collaborative activities with academics and students,develop thinking and reflective practices which play vital roles in upgrading the educational system. Moreover, it issuggested that the UK and Iran should consider embedded evaluations and flipped classrooms to meet the needs ofnew generation of learners.

Selected studies of the Menopause

1973 ◽  
Vol 5 (4) ◽  
pp. 533-555 ◽  
Author(s):  
Sonja M. McKinlay ◽  
John B. McKinlay
Keyword(s):  
Clinical Trial ◽  
Clinical Observation ◽  
Annotated Bibliography ◽  
The Past ◽  
General Report ◽  
Methodological Problems ◽  
The Subject

SummaryLiterature on the subject of the menopause, primarily from the past three decades, is selectively reviewed in the form of an annotated bibliography. In order to highlight particular methodological problems, the review is presented in three sections, each preceded by a brief discussion, as follows: (a) the general report of clinical observation or experience, (b) the survey, and (c) the clinical trial. Several recommendations are also made for further research in this field.

THE NON-CANONIC STATUS OF MOZART’S CANONS

2006 ◽  
Vol 3 (1) ◽  
pp. 109-123 ◽  
Author(s):  
NEAL ZASLAW
Keyword(s):  
Art Music ◽  
Orchestral Music ◽  
Dance Music ◽  
Western Art ◽  
Circle Of Friends ◽  
Western Art Music ◽  
Peculiar Nature

Mozart's canons are rather inadequately represented in the Köchel catalogue and the Neue Mozart Ausgabe. The same may be said about other music for his immediate circle of friends, colleagues and patrons, as well as his dance music and his contributions to pasticcios. Neglect of these ‘minor’ genres perhaps arises at least in part from anachronistic paradigms, for instance ‘masterpieces for posterity’. And the canons suffer additionally from the peculiar nature of their sources and transmission, from uncertainty about the position of canons in the ‘canon’ of Western art music and probably also from embarrassment over some of Mozart’s texts. Mozart’s canons have been studied not only less often than his operatic, church, chamber and orchestral music, but also less well.

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