Early career challenges in secondary school music teaching

2011 ◽  
Vol 37 (2) ◽  
pp. 285-315 ◽  
Author(s):  
G. Welch ◽  
R. Purves ◽  
D. Hargreaves ◽  
N. Marshall
Keyword(s):  
Secondary School ◽  
Early Career ◽  
Music Teaching ◽  
School Music

The Contemporary Composer in the Classroom

1986 ◽  
Vol 3 (3) ◽  
pp. 341-352 ◽  
Author(s):  
Peter Owens
Keyword(s):  
Secondary School ◽  
Music Education ◽  
Contemporary Music ◽  
Creative Work ◽  
Music Teaching ◽  
Modern Music ◽  
Avant Garde ◽  
Current State ◽  
School Music

This article is a revised version of a talk given by the author before an international symposium on music education in Hortos, Greece, in 1985. It considers the current state of modern music, suggesting that there have been some important changes in direction since the avant-garde styles of the 1950s and 1960s; and it reflects on some of the implications of these changes for secondary-school music teaching.Some proposals are made for factors likely to facilitate the success of contemporary music which children hear or perform. In the original talk these points were illustrated with recorded examples, indicated here by numbers in the text. The role of children as contemporary composers themselves is also discussed in terms of the method and motivation by which creative work may be encouraged.The educational writers on whom the author bases much of his argument are clearly acknowledged throughout the text. Otherwise, opinions derive from experience of teaching and writing music for children in England and in France.

Addressing the concerns of conservatoire students about school music teaching

2005 ◽  
Vol 22 (1) ◽  
pp. 63-75 ◽  
Author(s):  
Janet Mills
Keyword(s):  
Secondary School ◽  
Royal College ◽  
Positive Attitude ◽  
Music Teachers ◽  
Music Teacher ◽  
First Year ◽  
Music Teaching ◽  
School Class ◽  
Secondary Music ◽  
School Music

While most of the students who graduate each year from the Royal College of Music (RCM) in London build performance-based portfolio careers that include some teaching, very few of them enter secondary school class music teaching. This article describes how young musicians' concerns about the career of secondary class music teacher develop as they move from sixth former to first year RCM undergraduate to third year undergraduate, and proposes some ways in which these concerns may be addressed. RCM students often agree strongly with statements consistent with a positive attitude to teaching, such as feeling a sense of achievement when pupils learn, and considering that teaching is about helping pupils realise their musical potential. However, they also tend to think that secondary class music teaching is not ‘doing music’. Successful secondary music teachers may take a different view, and the effect on RCM students of working with such teachers is reported descriptively.

The training of specialist secondary school music teachers in England, 1945–75

2003 ◽  
Vol 20 (1) ◽  
pp. 61-71
Author(s):  
Michael Lynch
Keyword(s):  
Secondary School ◽  
Music Teachers ◽  
Music Teaching ◽  
Ministry Of Education ◽  
Youth Leaders ◽  
The Future ◽  
School Music ◽  
Schools Of Music ◽  
And Training ◽  
Archive Material

In 1942 the McNair Committee was appointed to consider the ‘supply, recruitment and training of teachers and youth leaders and to report what principles should guide the Board in these matters in the future’. Special attention was given to the needs of music teachers, and the proposals put forward by the Committee provided the framework for the pattern of training for the next 30 years. This article considers the reactions of the Ministry of Education, the Royal Schools of Music and the Incorporated Society of Musicians, making extensive use of archive material. Comparisons are drawn with the training received by music teachers today, with a call for further discussion of the essential skills necessary for effective music teaching.

So many expectations: A study of Australian early-career secondary school music teachers

2021 ◽  
pp. 1321103X2110093
Author(s):  
Jennifer Anne Robinson
Keyword(s):  
Secondary School ◽  
Music Teachers ◽  
Early Career ◽  
Career Stage ◽  
Early Career Teachers ◽  
School Communities ◽  
Effective Strategies ◽  
Working Lives ◽  
School Music ◽  
Survey Responses

Early-career music teachers are described in the literature as being in the first few years of the profession. This research explores the motivation, sense of value, and areas of stress affecting early-career music teachers in Australian secondary high schools. The research is a part of a larger qualitative study which contains a national survey ( n = 263) and interviews ( n = 41) of secondary school music teachers across a number of career stages. This article reports on the survey responses ( n = 59) and interviews ( n = 11) of teachers in the early-career stage (0–5 years). The findings revealed that, while the majority of early-career teachers were motivated to teach, being valued by the school led to a stronger commitment to the workplace. Motivating aspects of work included seeing students grow musically, lesson planning, and providing performance opportunities. While stressors were identified, the early-career music teachers had developed a number of effective strategies to cope with the demands of the profession. This article provides a national snapshot of the influences on the working lives of Australian early-career secondary school music teachers and provides suggestions to school communities and education authorities in ways to support them.

scholarly journals Composing on iPad as Middle Ground Education

2020 ◽  
pp. 233-256
Author(s):  
Bjørn-Terje Bandlien
Keyword(s):  
Secondary School ◽  
Theoretical Basis ◽  
Secondary School Students ◽  
Music Teaching ◽  
Middle Ground ◽  
Ground Term ◽  
School Students ◽  
Educational Design ◽  
Socially Constructed ◽  
School Music

In this article, I apply Biesta’s philosophical term “middle ground” as a theoretical basis for investigating music teaching where the students’ creative productions are part of their learning activities. The middle ground term illuminates how arts education depends on both incorporating the student’s desires and, at the same time, leading the student into encounters of responsibility with the material and socially-constructed world. I analyze how an educational design where secondary school students composed music with GarageBand on iPads can be characterized as middle ground education. The analysis is based on material from a microethnographic study in secondary school music lessons. From this, I discuss how middle ground education can be designed and propose the importance of students being given promotional challenges.

The Psychology of School Music Teaching.

1933 ◽  
Vol 17 (5) ◽  
pp. 632-633 ◽  
Author(s):  
Raleigh M. Drake
Keyword(s):  
Music Teaching ◽  
School Music

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.

The influence of two years of school music training in secondary school on visual and auditory memory

2011 ◽  
Vol 8 (5) ◽  
pp. 608-623 ◽  
Author(s):  
Franziska Degé ◽  
Sina Wehrum ◽  
Rudolf Stark ◽  
Gudrun Schwarzer
Keyword(s):  
Secondary School ◽  
Auditory Memory ◽  
Music Training ◽  
School Music
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