scholarly journals EDITORIAL

2017 ◽  
Vol 14 (2) ◽  
pp. 179-182
Author(s):  
THIERRY FAVIER
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Historical Context ◽  
Cultural Relativism ◽  
Music Teacher ◽  
Louis Xiv ◽  
National Education ◽  
Music Department ◽  
Norbert Elias ◽  
Musical Works

Recently I was advising a small group of students who were preparing to take the national exam that would qualify them for the position of music teacher at a secondary school. One part of the exam involves a comparative commentary on three musical works relating to a topic chosen by the candidate. Everyone involved in music education in France knows that the Music Department at the National Education Ministry (Inspection Générale de la Musique) has always been concerned with combatting social and cultural inequalities, and that classical music must be presented to younger generations with the least possible chronological and historical context in the name of cultural relativism. (This remarkable ideal, filtered through each successive stage of the educational system, sometimes inspires students to write that Louis XIV ordered Lully to compose operas in order to reduce the nobility to slavery – a radical reading of Norbert Elias indeed. But this is not my topic here.)

Class, Control, and Classical Music

2019 ◽  
Author(s):  
Anna Bull
Keyword(s):  
Music Education ◽  
Cultural Production ◽  
Classical Music ◽  
Historical Context ◽  
Ethnographic Study ◽  
Middle Classes ◽  
Class Culture ◽  
White Middle Class ◽  
Music Ensembles ◽  
The Aesthetic

Through an ethnographic study of young people playing and singing in classical music ensembles in the south of England, this book analyses why classical music in England is predominantly practiced by white middle-class people. It describes four ‘articulations’ or associations between the middle classes and classical music. Firstly, its repertoire requires formal modes of social organization that can be contrasted with the anti-pretentious, informal, dialogic modes of participation found in many forms of working-class culture. Secondly, its modes of embodiment reproduce classed values such as female respectability. Thirdly, an imaginative dimension of bourgeois selfhood can be read from classical music’s practices. Finally, its aesthetic of detail, precision, and ‘getting it right’ requires a long-term investment that is more possible, and makes more sense, for middle- and upper-class families. Through these arguments, the book reframes existing debates on gender and classical music participation in light of the classed gender identities that the study revealed. Overall, the book suggests that inequalities in cultural production can be understood through examining the practices that are used to create a particular aesthetic. It argues that the ideology of the ‘autonomy’ of classical music from social concerns needs to be examined in historical context as part of the classed legacy of classical music’s past. It describes how the aesthetic of classical music is a mechanism through which the middle classes carry out boundary-drawing around their protected spaces, and within these spaces, young people’s participation in classical music education cultivates a socially valued form of self-hood.

Popular music in preservice music education: Preparedness, confidence and implementation

2020 ◽  
Vol 4 (1) ◽  
pp. 41-60 ◽  
Author(s):  
Sandra Hamilton ◽  
Jennifer Vannatta-Hall
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Teacher Educators ◽  
Classical Music ◽  
The United States ◽  
Music Educators ◽  
Music Teacher ◽  
Students Attitudes ◽  
Training Programmes ◽  
K 12

This study examined popular music in preservice music teacher training programmes in the United States. The researchers explored types of courses and programmes offered in undergraduate music education programmes to prepare future music teachers to teach popular music. Quantitative data revealed trends in the inclusion of popular music within undergraduate music education programmes, determined music teacher educators’ perceptions of their students’ attitudes towards using popular music in the general music classroom, and examined the types of popular music pedagogy needed for preservice music educators. Qualitative data ascertained perceived confidence levels of graduates to utilize popular music. Results revealed that western classical music is the focus for the majority of music educators’ undergraduate degree programmes and that often music teacher preparation programmes ignore popular music study. Bridging the gap between western classical and popular music would help prepare teachers to include and value all types of music in K-12 music education.

Music Teacher Education in China

2018 ◽  
Vol 4 (8) ◽  
pp. 74-83
Author(s):  
Asta Rauduvaite
Keyword(s):  
Teacher Education ◽  
Music Education ◽  
Music Teachers ◽  
Music Teacher ◽  
Successful Implementation ◽  
Music Teacher Education ◽  
National Education ◽  
Study Programme ◽  
Education Study ◽  
The Right

The content of music teacher education study programmes is conditioned by the needs of the market economy and information society, higher education as a mass phenomenon, penetration of humanist ideas into the curricula and many other factors. The aim of these study programmes is to respond to the needs of society, develop the competencies of teacher education and establish the right conditions for successful implementation and to achieve the intended learning outcomes. The training of music teachers in China requires overall improvement in the level of music teacher training. The Ministry of National Education provides the curriculum for music teacher education as well as the guidelines for teaching compulsory courses for music teachers at general institutions and prestigious universities in China. This profession is important in professional courses and in the field of pedagogy; therefore, integrating the content of elective courses into professional courses could be more prolific and comprehensive. Keywords: Music teacher education, study programme, music education.

scholarly journals Cognitive-Emotional Music Listening Paradigm in Professional Music Education

2021 ◽  
pp. 131-145
Author(s):  
Sabina Vidulin ◽  
Senad Kazić
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Emotional Experience ◽  
Historical Context ◽  
Interdisciplinary Approach ◽  
Music Listening ◽  
Ear Training ◽  
Musical Piece ◽  
Social And Emotional ◽  
19Th And 20Th Century

Music education is an important factor of students’ development. The positive effect of music training is evident in all areas, from the intellectual, psychomotor to social and emotional ones, and therefore music classes in the music school should focus both on music making and on experience, understanding and evaluating music, as well as on expressing one’s own ideas, feelings and thoughts. In ear training classes it can be achieved through the area of music listening. Didactical initiatives of the 19th and 20th century contributed to the recognition of the advantages of the auditory approach, while technological innovations allowed the practical application of music listening. Although there are examples that point to fostering the emotional experience in music classes, music listening is still focused on giving assignments of cognitive type and learning about music components. Some exceptions pertain to the application of multimodality in music teaching using both musical and extra-musical areas. The paper is aimed at pointing to the value of the cognitive-emotional music listening and to the possibilities it opens in ear training classes. The cognitive-emotional music listening focuses on experiencing, understanding and appreciation of classical music aimed at shaping students’ worldview and improving their music competences. It can be achieved by the multimodal and interdisciplinary approach to a musical piece. Students learn about the musical-historical context of the emergence of a piece in a given time and circumstances, about the composing approach and the theoretical and harmony features of the work, they develop their musical and critical thinking, make music, and evaluate both music and their own achievements. Repeated listening to a musical piece or excerpts from it, observing and familiarizing with the piece from different perspectives and discussion about the piece and experience after listening make it possible to better understand the piece and its specifics, as well as to discover and improve one’s own self and accept others and the different.

scholarly journals Pedagogies of Performance

2020 ◽  
Vol 37 (1) ◽  
pp. 63-93
Author(s):  
Joshua Navon
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Student Assessment ◽  
Music Performance ◽  
Principal Mode ◽  
Musical Works ◽  
Archival Documents ◽  
Teachers And Students ◽  
Felix Mendelssohn ◽  
Faithful Interpretation

The development of modern styles of elite music education played a crucial role in entrenching Werktreue as the dominant practice within classical music performance. Focusing on Germany’s first conservatory, the Leipzig conservatory, which was founded in 1843, this article analyzes how Werktreue, understood as a set of tacit competencies and sensibilities that must be learned by musicians, was produced at a single historical site. Archival documents of the institution, as well as the correspondence and writings of teachers and students like Felix Mendelssohn, William Rockstro, and Ethel Smyth, show that the central objective of musical pedagogy was the faithful interpretation of musical works. Isolated as a discrete subject of training, performing musical works also functioned as the principal mode of student assessment through semesterly examinations. To transmit the necessary skills for this paradigm of performance, pupils’ bodily capacities (Technik) and ability to understand and interpret canonic compositions (Vortrag) became essential targets of conservatory pedagogy. Ubiquitous visibility among students, and the intense competition that this visibility engendered, went hand in hand with institutionalizing styles of musical expertise that continue to this day. In exploring these developments, this article asks how the productive power of modern conservatory training contributed not only to Werktreue’s rise over a wide geography, but also to the remarkable stability with which it has pervaded performance practice across multiple generations.

Standing in the Shadows of Mozart

2017 ◽  
Author(s):  
Deborah Bradley
Keyword(s):  
Higher Education ◽  
Teacher Education ◽  
Social Justice ◽  
Music Education ◽  
Classical Music ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Public And Private ◽  
Post Secondary ◽  
Change In Higher Education

This chapter addresses the need for curricular change in higher education from a social justice perspective grounded in an antiracism discursive framework and focuses on music teacher education in large public and private university settings. After a brief discussion of the antiracism framework, I look at some of the historical and current impediments to change unique to music teacher education through a discussion of how those impediments may be reflective of a culture of whiteness in post-secondary institutions. Racial assumptions underlie classical music studies in higher education; those assumptions manifest themselves in our behaviors, educational processes, and educational products. The chapter concludes with several examples of program revisions in music education that have begun to address the types of changes necessary for developing pedagogies of social justice for music teacher education—to move music studies in higher education out of “the shadows of Mozart” and into the twenty-first century.

Development of the professional culture of a music teacher among foreign students in the process of musical and instrumental training at a Russian pedagogical university

2021 ◽  
pp. 134-146
Author(s):  
Anastasiya Y. Maryatch ◽  
Tatyana A. Shipilkina
Keyword(s):  
Music Education ◽  
Foreign Students ◽  
Chinese Students ◽  
Professional Culture ◽  
Music Teacher ◽  
State University ◽  
Piano Performance ◽  
Instrumental Training ◽  
Music Department ◽  
Teaching Music

We examine some of the problems of the process of developing the professional culture of a music teacher among foreign students from the Chinese People’s Republic in accordance with modern trends in Russian pedagogy of music education; the concept of “culture of piano performance-intonation” is revealed as a necessary component of the professional culture of a music teacher. The goal is to substantiate the need to study the features of the development of professional culture among Chinese students, future music teachers, in the process of musical and instrumental training at a Russian pedagogical university. In the course of the research, the concept of “professional culture of a music teacher” is clarified; the features of the development of the professional culture of a music teacher, and, in particular, the culture of piano performance-intonation among Chinese students, as its separate component, are investigated; the conditions for the upbringing of the culture of piano performance and intonation among foreign students in the process of musical and instrumental training in a Russian pedagogical university are determined. The research methodology is based on the systematization of scientific and pedagogical knowledge in the field of musicology, pedagogy and psychology of music education, as well as the results of experimental work carried out over the past three years on the basis of the “Special Piano” Department of the Tambov State Musical Pedagogical Institute named after S.V. Rachmaninov and the Music and Methods of Teaching Music Department of Penza State University.

Mahler Is a DJ: Reconducting Classical Music Education

2020 ◽  
Vol 28 (2) ◽  
pp. 220
Author(s):  
Koopal ◽  
Vlieghe ◽  
de Baets
Keyword(s):  
Music Education ◽  
Classical Music

Child Composers in the Old Conservatories

2020 ◽  
Author(s):  
Robert O. Gjerdingen
Keyword(s):  
Teaching Methods ◽  
Classical Music ◽  
Colleges And Universities ◽  
Mental Ability ◽  
Original Music ◽  
Innovative Teaching ◽  
Musical Works ◽  
History Of ◽  
Youtube Videos ◽  
Typical Day

The original music conservatories were orphanages. Through innovative teaching methods the masters of these old institutions were able to transform poor and often illiterate castoffs into elite musicians, many of whom became famous in the history of classical music. The book tells the story of how this was done. It shows what the lessons were like, what a typical day was like for an orphan, and how children progressed from simple lessons to ones more advanced than any seen today in colleges and universities. Recent rediscoveries of thousands of the old lessons have allowed us to understand how children’s minds were systematically developed to be able to “think” in music. That is, the lessons slowly built up the mental ability to imagine the interplay of two or more voices or instruments. Today we think of Mozart as having a miraculous ability to imagine musical works in his head, but in truth many of the conservatory graduates of that era had attained a similar level of controlled musical imagination. They could improvise for hours at the keyboard, and they could quickly compose whole works for ensembles. The book is accompanied by 100 YouTube videos so that readers can hear what the lessons sounded like.

Courses for Secondary Instruments

2019 ◽  
pp. 344-363
Author(s):  
Molly A. Weaver
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Teacher ◽  
Promising Practices ◽  
Education Curriculum ◽  
Music Teacher Education ◽  
Teaching Activities ◽  
School Based ◽  
Secondary Instrument ◽  
Institutional Model

The main purpose of this chapter is to synthesize the literature regarding courses for secondary instruments in the interest of making recommendations for promising practices. The chapter also is intended to “push boundaries from within the system” of music teacher education. That is, it is intended to be a resource for those who prepare preservice music teachers (PMTs) for the realities of P-12 school-based music education and who aspire to instill in these new colleagues a disposition toward change. The chapter is divided into six sections: importance of secondary instrument courses, characteristics and configurations of secondary instrument courses, focus and content of secondary instrument courses, peer teaching activities and field experiences within secondary instrument courses, recommendations for promising practices (including professional development beyond the preservice music education curriculum and an institutional model for secondary instrument courses), and future considerations.

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