Enabling Popular Music Teaching in the Secondary Classroom – Singapore Teachers' Perspectives

2018 ◽  
Vol 35 (3) ◽  
pp. 301-319
Author(s):  
Hoon Hong Ng
Keyword(s):  
Public Schools ◽  
Popular Music ◽  
Music Teachers ◽  
Secondary School Teachers ◽  
Traditional Music ◽  
Music Teaching ◽  
Music Pedagogy ◽  
Youth Cultures ◽  
Secondary Classroom ◽  
Teachers Perspectives

The pervasiveness of popular music and its associated practices in current youth cultures brings into question the relevance and effectiveness of more traditional music pedagogies, and propels a search for a more current and engaging music pedagogy informed by popular music practices. With this as the basis, this study seeks to explore factors that may enable the success and effectiveness of popular music programmes in public schools through the lenses of three Singapore secondary school teachers as they conducted their popular music lessons over seven to ten weeks. In the process, the study also describes how these teachers pragmatically negotiated the execution of these programmes within Singapore's unique educational context. The findings may serve to inform music teachers and school leaders keen to establish similar programmes as a matter of on-going dialogue.

Towards a synthesis of formal, non-formal and informal pedagogies in popular music learning

2018 ◽  
Vol 42 (1) ◽  
pp. 56-76
Author(s):  
Hoon Hong Ng
Keyword(s):  
Popular Music ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Thinking Skills ◽  
Music Teaching ◽  
Learning Approaches ◽  
Music Learning ◽  
Self Identity ◽  
Holistic Curriculum ◽  
Independent Thinking

Informal pedagogy is closely associated with popular music practices, its methods known to engage students in authentic music learning that develops critical and independent thinking skills, social skills, creativity and self-identity, among others. However, formal and non-formal pedagogies also have relevant roles to play in popular music learning in the classroom, though their roles and interactions with informal pedagogy may require exploration. A recent survey conducted in Singapore schools suggests that a significant number of music teachers have never engaged their students in popular music practices, and they have no confidence in adopting appropriate pedagogies to effectively enable popular music learning. This article seeks to address the issue by reviewing relevant pedagogies and how they are employed in popular music programmes in two Singapore secondary schools. I will first examine the current discussion on formal, non-formal and informal pedagogies and their implications for music teaching and learning. Secondly, I will relate the discussion to two empirical case studies which adopt these learning approaches in popular music classes to examine their applications and how they interact in actual classroom situations. Based on this, I will suggest that a synthesis of these pedagogies in constant, complementary dialogue within and beyond the classroom paves the way towards a complete and holistic curriculum and learner experience.

Popular Music Ensembles

2012 ◽  
pp. 877-889
Author(s):  
Carlos Xavier Rodriguez
Keyword(s):  
Public Schools ◽  
Popular Music ◽  
Teaching And Learning ◽  
Traditional Music ◽  
The United States ◽  
Core Values ◽  
Music Teacher ◽  
Music Ensembles ◽  
Large Ensembles ◽  
School Music

Popular music ensembles increase interest and student participation in school music instruction. Some ensembles are small and selective, used as a privilege for the leading performers in larger, traditional school ensembles. Conversely, other popular music ensembles are much larger in size, for instance guitar ensembles, since they are attractive to students who lack background in traditional instruments, yet still allow students to gain experience playing in large ensembles. This article is devoted to identifying and describing core values that underlie teaching and learning in the most prevalent types of popular ensemble in the United States, and globally, as they occur within more traditional music curricula in public schools, and the implications of these emerging ensembles for music teacher education. Examples of specific programs that illustrate these core values in action are cited.

scholarly journals El libro de texto de música: perspectiva del profesorado de educación secundaria | Textbooks for music education: secondary school teachers’ perspectives

2019 ◽  
Vol 12 (25) ◽  
pp. 49
Author(s):  
Marta Alonso Vera ◽  
Gregorio Vicente Nicolás
Keyword(s):  
Secondary School ◽  
Music Education ◽  
Music Teachers ◽  
Teaching Practice ◽  
Secondary School Teachers ◽  
Primary Reason ◽  
School Teachers ◽  
Publishing Houses ◽  
Teachers Perspectives ◽  
Teacher's Perception

El objetivo principal de este estudio es conocer la percepción de los docentes de música de Educación Secundaria acerca del uso del libro de texto. A tal fin, se ha optado por una metodología de estudio de caso, cuya muestra está formada por cinco profesores de diferentes centros educativos de la Región de Murcia. Para la recogida de datos se ha diseñado una entrevista estructurada en cuatro secciones que aporta información sobre los datos personales, aspectos organizativo-didácticos, práctica docente e ideología. Tras la realización de un análisis descriptivo de los datos, los resultados revelan que la búsqueda de orientación y recursos es una de las principales razones por las que el profesorado opta por el uso del libro de texto. Por el contrario, la flexibilidad y la libertad de planificación son los argumentos esgrimidos por los docentes que no utilizan este recurso. Todos los profesores participantes consideran que las editoriales cuando diseñan sus materiales anteponen criterios de facturación a criterios pedagógicos. Asimismo, coinciden en que el futuro del libro de texto es incierto y auguran su desaparición a medio plazo.AbstractThis study main purpose is to know the music secondary teacher’s perception about using or not a textbook. With this goal a methodology of study cases is used, the sample is taken from five music teachers of different schools from Murcia. To recover database, a four-part interview was designed, providing some information about personal subjects, didactics organization, teaching practice, thinking and context. After analysing the database recollected, the evidence is searching orientation and didactic resources is the primary reason for textbook teacher’s user. On the other hand, non-user textbook teachers consider flexibility and freedom of planning as an advantage. All participant teachers take into account that publishing houses are more concerned about billing criteria than pedagogical aspects. Therefore, textbook’s future is uncertain, teachers even forecast its extinction.

Structure and agency in novice music teaching

2018 ◽  
Vol 41 (2) ◽  
pp. 206-218 ◽  
Author(s):  
Sean Robert Powell
Keyword(s):  
Preservice Teachers ◽  
Public Schools ◽  
Music Education ◽  
Student Teaching ◽  
Teacher Educators ◽  
Music Teachers ◽  
Structuration Theory ◽  
The United States ◽  
Music Teaching ◽  
Power Capability

Using multiple interviews and observations, I chronicled the experiences of three novice music teachers in the United States over a 2-year period, including their student teaching internships and first years of in-service teaching. I analyzed these experiences through the lens of strong structuration theory, Stones’s (2005) extension and elaboration of Giddens’s (1984) original structuration theory. My guiding research questions were: a) How do the structures of music teaching within public schools in the U.S. enable and inhibit the agency of novice music teachers? and, b) How do the practices of novice music teachers reproduce, sustain, and change the structures of music education? I discuss how teacher educators, preservice teachers, and in-service teachers can work together in dialogue to assist novice music teachers in cultivating agential resistance by developing perceptions of power/capability, adequate knowledge, and requisite reflective distance.

Pedagogy II

2020 ◽  
pp. 95-106
Author(s):  
Katherine K. Preston
Keyword(s):  
New York ◽  
Public Schools ◽  
School System ◽  
Music Teachers ◽  
Fund Raising ◽  
Effective Teacher ◽  
Music Pedagogy ◽  
Foreign Born ◽  
The Public ◽  
Gradual Process

Bristow taught music in the New York Public Schools (1854-1898), even after relocating to Morrisania. He taught simultaneously in as many as six different schools and was known as an effective teacher. Most of his students (boys and girls) were foreign-born. The inclusion of music pedagogy in the public school system was a long and gradual process. Students in the schools with music teachers learned and performed fairly difficult choral repertory at commencements, in special concerts, and as fund-raising activities. In 1870 Bristow oversaw a “Grand Juvenile Beethoven Festival.” He also taught in private conservatories and institutions, including the New York Conservatory, where he was director for several years.

CanRock classroom: Two pre-service teachers’ experiences of a popular music pedagogy course in Canada

2019 ◽  
Vol 3 (3) ◽  
pp. 451-468 ◽  
Author(s):  
Adam Patrick Bell ◽  
Ryan Stelter ◽  
Kathleen Ahenda ◽  
Joseph Bahhadi
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Informal Learning ◽  
Group Dynamics ◽  
Teaching And Learning ◽  
Music Pedagogy ◽  
Related Literature ◽  
Technology And Learning ◽  
Teachers Experiences ◽  
Teachers Perspectives

Research on popular music pedagogy tends to centre on teaching and learning practices related to school-aged students; less research has focused on the training of pre-service teachers. We present the perspectives of two pre-service teachers on their experiences taking the first iteration of a popular music pedagogy course at a university in Canada as part of their music education studies. The examination we present is limited to one site and two pre-service teachers’ perspectives, but focuses on some important themes including group dynamics, songwriting, integrating technology and learning popular music instruments. We begin by surveying some recent related literature on popular music pedagogy before outlining our purpose and method. Then, we detail the underpinning ‘informal learning’ ethos of the course and provide a course description. Finally, we present our findings on the two pre-service teachers’ experiences with the course and conclude with a brief discussion that contextualizes these results with related literature.

The method of emotional education in music teaching

2021 ◽  
pp. 002072092098355
Author(s):  
Hui Hong ◽  
Weisheng Luo
Keyword(s):  
Middle School ◽  
Music Education ◽  
Teaching Methods ◽  
Music Teachers ◽  
Aesthetic Education ◽  
Music Teaching ◽  
True Meaning ◽  
School Music ◽  
Teaching Music ◽  
Emotional Education

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.

scholarly journals Navigating Music Teaching in Uncertain Times

2020 ◽  
pp. 104837132096138
Author(s):  
Chiao-Wei Liu
Keyword(s):  
Peer Relationships ◽  
Classroom Climate ◽  
Music Teachers ◽  
Well Being ◽  
Thinking Skills ◽  
Virtual Classroom ◽  
Critical Thinking Skills ◽  
Music Teaching ◽  
Music Learning ◽  
Teacher Student

As schools reopen and students return back to the classrooms, music teachers are faced with the challenge of how and what we could do (and continue to do) to support the well-being and music learning of our students in crises. I suggest that teachers take into consideration the various elements involved in creating engaging learning experiences. Recognize the changing classroom climate and student-teacher/student-peer relationships in the virtual classroom, it is necessary that we consider how to spark students’ motivation and generate meaningful dialogue, what strategies we apply to help our students develop critical thinking skills; how we connect with our students and address their emotional well-being while being physically separated from each other. As trivial as these ideas may appear on the surface, I believe that only when we truly listen and attend to the needs of our students will we provide the space for our students to flourish.

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