scholarly journals Editorial

2014 ◽  
Vol 31 (1) ◽  
pp. 1-4 ◽  
Author(s):  
MARTIN FAUTLEY ◽  
REGINA MURPHY

Looking back to the editorial in the very first edition of BJME, back in 1984, there are a number of striking resonances which belie the thirty years which have passed since Volume 1, Issue 1. Take this paragraph as an example: Many problems in music education are the result of the insularity of our practice. In Britain music teachers are often hesitant about sharing their ideas. Then again, the roots of our teaching methods reach back far into the past, so that we tend to function on the basis of precedent; we do things because they have always been done, and only rarely perhaps do we make the effort to reflect upon what is done. Now, perhaps because of economic restraints, we are becoming more aware of the need to justify the place of our subject in the educational curriculum and the need to examine closely the reasoning behind our teaching methods. (Paynter & Swanwick, 1984) So much remains the same, yet at the same time the music education landscape is entirely different from then! In the UK since that editorial was written we have had, inter alia, new examinations at 16+, a National Curriculum (in a number of very different versions), changes in governance of schools, an entirely different financial scene for schools, the establishment of music hubs, changed relationships for music services with pupils and schools, a diminishing role for Local Authorities, the establishment of new types of schools – Free Schools and Academies, the removal of the requirements for teachers to hold a teaching qualification, and the shifting of teacher training out of universities and into schools. Quite a list! And there is a lot more besides that has not been included. Also important to note is that the BJME is now, and has been for a while, very much, as its strapline says, ‘an international journal’, and so there are interactions and synergies with many other national systems and music education types across the world.

Author(s):  
Hui Hong ◽  
Weisheng Luo

Wang Guowei, a famous scholar and thinker in our country, thinks that “aesthetic education harmonizes people's feelings in the process of emotional music education, so as to achieve the perfect domain”, “aesthetic education is also emotional education”. Therefore, in the process of music education, emotional education plays an important role in middle school music teaching, and it is also the highest and most beautiful realm in the process of music education in music teaching. Music teachers should be good at using appropriate teaching methods and means. In the process of music education, they should lead students into the emotional world, knock on their hearts with the beauty of music, and touch their heartstrings. Only when students' hearts are close to music in the process of music education, can they truly experience the charm of music and realize the true meaning of music in the process of music education. Only in this way can music classes be effectively implemented The purpose of classroom emotion teaching.


2016 ◽  
Vol 33 (2) ◽  
pp. 129-132 ◽  
Author(s):  
MARTIN FAUTLEY ◽  
REGINA MURPHY

Back in 2013, in the BJME editorial for issue 30(2), we considered the place of knowledge in the curriculum (Fautley & Murphy, 2013). Things have not stood still since that date, certainly in England, and other parts of the world too. What we have now is a situation where the idea of knowledge as assuming supremacy over skills is on the increase. For those of us concerned with music education, many aspects of this increasingly fractious debate are to be viewed with concern. Allied to this, we have neoliberal-leaning governments in many parts of the world, Britain included, who seem to find it difficult to understand the important role that music education has – or should have – in the education of our children and young people. Indeed, in the UK, the education secretary is on record as making this observation: Education secretary Nicky Morgan has warned young people that choosing to study arts subjects at school could ‘hold them back for the rest of their lives’ (The Stage, 2014) This attitude, and Britain is certainly not alone in this, is clearly going to be problematic for those of us involved in music and the arts.


A Child's Day ◽  
2020 ◽  
pp. 165-178
Author(s):  
Killian Mullan

This concluding chapter surveys the key findings and issues raised in the previous chapters. This study of a child's day provides the most extensive picture currently available in the UK, and elsewhere in the world, into how children's time use has changed over the past several decades. It identifies areas of expected change as well as other areas of surprising stability. It reveals how change and stability in children's time use blend together to comprise a child's day, uncovering also the multi-layered contexts of a child's day. Aspects of children's time use, and how this may have changed, will no doubt continue to surface in public debate in connection with their well-being. While welcoming this, it is necessary to always question and seek to understand how supposed changes actually fit within a child's day, the types of days where these changes are concentrated, among whom, and to seek out evidence on how such changes relate to other activities and the social contexts of daily life.


2020 ◽  
Vol 37 (2) ◽  
pp. 107-114 ◽  
Author(s):  
Alison Daubney ◽  
Martin Fautley

AbstractThis article, written at the time it was taking place, discusses the effects that the COVID-19 pandemic is having on music education in schools, focusing on the UK. It discusses how schools and teachers have had to make a sudden shift to a largely on-line modality, and the effects of these on teaching and learning in music. It asks questions of curriculum and assessment, especially with regard to the fact that classroom teachers in England are having to use their professional judgment to provide grades for external examinations, where hitherto these would have come from examination boards. It questions the ways in which teachers have been inadequately prepared and supported for this, by years of neoliberal undermining of confidence. It goes on to question accountability, and teacher training, raising issues which, at the time of writing, are of significant concern or music education.


1990 ◽  
Vol 6 ◽  
pp. 29-44 ◽  
Author(s):  
Monica Hale

AbstractOver the past decade concern for the environment and, as a consequence, interest in environmental education have undergone a revival in Britain. Interest generated in the late Sixties and early Seventies was followed by a quiescent period during which few significant developments occurred. The publication of the World Conservation Strategy and the UK Response in the early Eighties, coupled with the general realisation that environmental degradation was occurring on a global scale, has caused a substantial increase in environmental interest. Recent developments in the formulation of a National Curriculum in England and Wales have provided a real opportunity to incorporate environmental education into the programs of study for every pupil between the ages of 5 to 16.The following paper concentrates on the formal education system but important developments are currently taking place in the youth sector. As the National Curriculum proceeds and becomes fully implemented it will further affect higher and further education and environmental education in industry.


2005 ◽  
Vol 8 (3) ◽  
pp. 275-285 ◽  
Author(s):  
David A. Nethercot

For more than 35 years the author has been directly involved with the preparation of Structural Steel Design Codes – both in the UK and, more widely, in the EU. This activity has also extended to include direct association with Code developments in several other countries around the world e.g. South Africa, Hong Kong etc. plus observation of the process in many places. Utilising the UK position as the timeline, this paper presents a largely personal view of developments over the past 100 years, beginning in the pre-code era and culminating in today's age of international cooperation.


1997 ◽  
Vol 7 (2) ◽  
pp. 177-182 ◽  
Author(s):  
Rosalie Wolf

For those of us who have been working in the elder abuse movement for a decade or more, progress towards understanding and prevention of elder abuse has been exceptionally slow. This situation may be attributed as much to the complexities of elder abuse as to the importance given to the problem by national governments. However, one trend in the past five years is particularly noteworthy. The increased awareness of elder abuse among the nations of the world, underscored by an ‘“explosion” of interest’ in the UK, has been the most salutary accomplishment. The purpose of this paper is to review the status of the field with specific reference to the past five years. Of necessity, this review is selective and thus may omit worthy research and policy achievements. As with an earlier paper (see Rev Clin Gerontol 1992; 2: 269-76), this review is limited to elder abuse in domestic settings.


1991 ◽  
Vol 6 (0) ◽  
pp. 113-136
Author(s):  
Hak Yol Yoon

From the beginning of history, a great number of wars caused by conflict of ideologies, racial discrimination, needs to reserve natural resources, and territorial ambitions have changed global maps and streams of history with heavy damage to mankind in all parts of the world. As mentioned above, a lot of events have also happened in persons, families, and every side of society. As results of wars, conflicts, party strifes, and ets., small or great events are inevitable at home and abroad. These kinds of great or small events always follow a crisis. Good crisis management can prevent one from causing great or small events by way of overcoming national strifes and international collision. Looking back upon the past history, wars around 900 times had caused sufferings of the Korean.


Author(s):  
Alimu Tuoheti

All around the world, how we interpret the Islamic world objectively and accurately is an important topic for concerned scholars all over the world. Britain has a history of Islamic Studies for more than 400 years, and the current standard and research paradigm of Islamic Studies in the UK deserves our attention. It is of great practical significance for us to thoroughly and systematically understand the contemporary Islamic world in this special historical stage of great turbulence, great differentiation, and great change, and then comprehensively grasp the regional issues of Islam and build a discourse system of Islamic research with modern characteristics. In the past 30 years, Japanese academic circles have not been able to keep abreast of the development of Islamic Studies in the UK, let alone go deep into the frontier field of cultural communication. Based on this, through literature analysis and field visits, this Project intends to overview of the current situation of Islamic Studies in Britain and Japan, focusing on the two main paradigms of its cultural studies, and then to explore the how these academic efforts can benefit and impact the discourse construction of Islamic Studies in Japan and UK.


Author(s):  
Clint Randles

The proliferation of the use of new media and creativities are expanding the ways that humans engage creatively with music in the twenty-first century. As teachers and researchers, our methods of assessing these creativities need to expand as well. In this chapter the author points to some of the ways that music education has traditionally conceived of both creativity and the measurement of compositional activity in the classroom. However, it should be clear that formative, summative, feedback, diagnostic, and evaluative assessment are all necessary and vital to understanding and justifying the place of composition learning in music education, and that we as a profession have not done an adequate job of it in the past. Some countries, such as the United Kingdom, Finland, and Australia, have done a better job of creating curricular space for composition than the United States. The rest of the world can learn from these successes.


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