Meaningful Curriculum

2017 ◽  
Author(s):  
Birch P. Browning
Keyword(s):  
Secondary Students ◽  
Philosophy Of Education ◽  
Music Educators ◽  
Music Curriculum ◽  
Educational Materials ◽  
Comprehensive Musicianship ◽  
Music Making ◽  
Comprehensive Musicianship Through Performance ◽  
The Many ◽  
Curricular Decisions

This chapter describes the many possible definitions of the term curriculum, including the series of courses needed to complete a program or the educational materials for a topic of study. From a wider perspective, curriculum encompasses all the decisions about the goals, content, and methods and materials of instruction that are directly related to the intentional outcomes of instruction. The decisions about what is included reflect the values and philosophy of education held by those who make curricular decisions. The programs and methods of the well-known childhood music educators Dalcroze, Kodály, Orff, Suzuki, and Gordon are discussed. The author also covers the Comprehensive Musicianship Through Performance (CMP) series for secondary students in depth and discusses various scholars’ visions for music curriculum. Effective music curriculum must prepare students for musical independence via authentic music-making: listening, performing, composing, and improvising.

Community Service Learning with First Peoples

2018 ◽  
Author(s):  
Brydie-Leigh Bartleet ◽  
Dawn Bennett ◽  
Anne Power ◽  
Naomi Sunderland
Keyword(s):  
Service Learning ◽  
Community Service ◽  
Music Educators ◽  
Learning Opportunities ◽  
Community Music ◽  
Culturally Appropriate ◽  
Community Service Learning ◽  
Intercultural Learning ◽  
Music Making ◽  
First Peoples

Community music educators worldwide face the challenge of preparing their students for working in increasingly diverse cultural contexts. These diverse contexts require distinctive approaches to community music-making that are respectful of, and responsive to, the customs and traditions of that cultural setting. The challenge for community music educators then becomes finding pedagogical approaches and strategies that both facilitate these sorts of intercultural learning experiences for their students and that engage with communities in culturally appropriate ways. This chapter unpacks these challenges and possibilities, and explores how the pedagogical strategy of community service learning can facilitate these sorts of dynamic intercultural learning opportunities. Specifically, it focuses on engaging with Australian First Peoples, and draws on eight years of community service learning in this field to inform the insights shared.

Could There Be Deleuzian Assessment in Music Education?

2019 ◽  
pp. 121-136
Author(s):  
Lauren Kapalka Richerme
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Educators ◽  
Assessment Practices ◽  
Continuous Assessment ◽  
Education Policies ◽  
Philosophical Inquiry ◽  
Music Making ◽  
Musical Practices ◽  
Contemporary Education

Authors of contemporary education and arts education policies tend to emphasize the adoption of formal, summative assessment practices. Poststructuralist philosopher Gilles Deleuze’s emphasis on ongoing differing and imaginative possibilities may at first glance appear incompatible with these overarching, codified assessments. While Deleuze criticizes the increasing use of ongoing assessments as a form of control, he posits a more nuanced explanation of measurement. This philosophical inquiry examines four measurement-related themes from Deleuze’s writings and explores how they might inform concepts and practices of assessment in various music teaching and learning contexts. The first theme suggests that each group of connective relations, what Deleuze terms a “plane of immanence,” demands its own forms of measurement. Second, Deleuze emphasizes varieties of measurement. Third, those with power, what Deleuze terms the “majority,” always set the standard for measurement. Fourth, Deleuze derides continuous assessment. His writings suggest that music educators might consider that assessments created for one musical practice or style should not transcend their own “plane of immanence,” that a variety of nonstandardized assessments is desirable, that the effect of measurement on “minoritarian” musical practices must be examined carefully, and that it is essential to ponder the potentials of unmeasured music making.

The Value of Learning Collective Free Music Improvisation: Preservice Music Educators’ Perspectives

2021 ◽  
Vol 30 (3) ◽  
pp. 40-53
Author(s):  
Hoon Hong Ng
Keyword(s):  
Music Teachers ◽  
Music Educators ◽  
Music Curriculum ◽  
Group Discussions ◽  
Music Improvisation ◽  
Free Improvisation ◽  
Entrepreneurial Skills ◽  
School Music ◽  
Collaborative Skills

I conducted a case study to explore preservice music teachers’ behaviors, thoughts, and feelings when engaged in collective free music improvisation. Nine preservice music teachers were taught how to freely improvise within groups as part of a teacher education course and participated in interviews and focus group discussions. Major themes highlighted learning across three segments that emphasized communication and collaborative skills, entrepreneurial skills and risk taking, and reconciliation and transformation. I concluded that the sociomusical outcomes produced by collective free improvisation may complement those of more formal and idiomatic improvisation practices, and that by introducing preservice music teachers to free improvisation activities, they may be more willing to engage PK–12 students in free improvisation lessons that enhance the existing school music curriculum.

Creating Virtual Ensembles: Common Approaches from Research and Practice

2021 ◽  
Vol 107 (3) ◽  
pp. 38-46
Author(s):  
Christopher Cayari
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Educators ◽  
The Internet ◽  
Research And Practice ◽  
Music Production ◽  
Music Making ◽  
Teachers And Students ◽  
Online Music ◽  
Education Courses

A virtual ensemble is a digital musical product that uses multiple recordings edited together to form a musical ensemble. Creating virtual ensembles can be a way for music educators to engage students through online music-making. This article presents eight steps for creating virtual ensembles in music education courses and classrooms. The steps are (1) identifying objectives and desired outcomes, (2) selecting repertoire, (3) developing learning resources, (4) creating an anchor for synchronizing, (5) choosing a recording method, (6) setting up a collection platform, (7) editing in postproduction, and (8) distributing the product. As online music production becomes more prevalent, projects like virtual ensembles can provide creative and exciting experiences for music teachers and students, whether produced in the classroom or through remote means on the Internet.

scholarly journals Technology in Music Education in England and across Europe

2017 ◽  
pp. 30-48
Author(s):  
Marina Gall
Keyword(s):  
Music Education ◽  
Secondary Students ◽  
English Education ◽  
Traditional Music ◽  
Music Educators ◽  
Music Technology ◽  
Primary School Children ◽  
Information Communications Technology ◽  
Wide Range ◽  
Technological Developments

In this chapter, adopting an autobiographical perspective, I reflect upon the use of music technology within English school classrooms during the last 50 years. The chapter illustrates that this has become so important—particularly for creative work—that formal music technology examination syllabi for older students now exist alongside courses that focus on “traditional” music skills. The chapter also discusses the less positive position of information communications technology within the music curricula for primary school children and secondary students aged 11–14, and offers thoughts on the future of music technology within the English education system. As a backdrop to the discussion the chapter presents a short reflection on music technological developments in society during the twentieth and twenty-first centuries. The chapter also includes the perspectives of music educators from a wide range of European countries, during the period 2008–2011, on the position of music technology within their own educational contexts.

scholarly journals Philosophical remarks about educational materials

2021 ◽  
Vol 55 ◽  
pp. e055005
Author(s):  
Elena Theodoropoulou
Keyword(s):  
Philosophy Of Education ◽  
The State ◽  
The Other ◽  
Practical Philosophy ◽  
Teaching Material ◽  
Methodological Issues ◽  
Educational Materials ◽  
Philosophical Work ◽  
Critical Understanding ◽  
The One

The connection between a non philosophical work and its reception in education through its transformation into a learning/teaching material and a possible philosophical reading, in order to recognize and define the philosophical stance of this very material, could not but be a challenge for philosophy of education itself, namely, in its relation to (or as) practical philosophy. This kind of reduction to the state of material could instrumentalize the latter raising practical, ethical and methodological issues about the pedagogical intention itself; subsequently, the art, literature, philosophy, and science lying behind materials become equally instrumentalized and evacuated. This article attempts, on the one hand, to circumscribe and describe this movement of “becoming material” as a question philosophically and pedagogically challenging and, on the other, to reflect about a critical understanding of this very question as an example of research in practical philosophy. 

Teaching the Korean Folk Song (Arirang) Through Performing, Creating, and Responding

2017 ◽  
Vol 31 (1) ◽  
pp. 16-25 ◽  
Author(s):  
Hyesoo Yoo ◽  
Sangmi Kang
Keyword(s):  
Music Teachers ◽  
Music Educators ◽  
Folk Songs ◽  
Folk Song ◽  
Upper Elementary ◽  
Depth Information ◽  
General Music ◽  
Comprehensive Musicianship ◽  
Music Standards ◽  
Music Classrooms

This article introduces a pedagogical approach to teaching one of the renowned Korean folk songs ( Arirang) based on the comprehensive musicianship approach and the 2014 Music Standards (competencies in performing, creating, and responding to music). The authors provide in-depth information for music educators to help their students achieve learning outcomes for the skill, knowledge, and affect domains of the Korean folk song ( Arirang). Furthermore, the authors offer music lessons for Arirang in a variety of ways that are appropriate for upper elementary and secondary general music classrooms, including performing, creating, and responding to the music. An educational website that includes exemplary lesson plans, videos, and worksheets is also provided to help music teachers obtain content and pedagogical knowledge of Arirang.

The Student Prince: Music-Making with Technology

2012 ◽  
pp. 475-491 ◽  
Author(s):  
Andrew King
Keyword(s):  
Support Staff ◽  
Historical Background ◽  
Music Curriculum ◽  
Recording Studio ◽  
Music Making ◽  
Technology Programs ◽  
Studio Practice

This article examines recording studio practice in education. It begins by tracing the historical background of music-making with technology and providing an overview of how technology is used in the music curriculum. It then discusses the key relationships between curriculum, environment (studio), and community (learners, educators, studio users, support staff), that are essential in developing technology programs.

Trans Voices Speak: Suggestions from Trans Educators about Working with Trans Students

2021 ◽  
Vol 108 (1) ◽  
pp. 50-56
Author(s):  
Christopher Cayari ◽  
Felix A. Graham ◽  
Emma Joy Jampole ◽  
Jared O’Leary
Keyword(s):  
Identity Development ◽  
Music Education ◽  
Music Educators ◽  
Gender Nonconforming ◽  
The Past ◽  
Music Making ◽  
Trans People ◽  
The Social ◽  
And Gender ◽  
Music Classrooms

The social climate in the past decade has seen a rise in visibility of trans students in music classrooms and ensembles, leading to a need for scholarship on how to serve this growing population. Literature is being published to address this topic; however, the lack of scholarship by trans educators might lead many music educators to conclusions and practices that can be, at the very least, discouraging to some trans students and may disrupt their learning experiences. This article was written by four educators who identify as part of the trans community (a genderfluid and gender-nonconforming individual, a trans man, a trans woman, and a gender-nonbinary person) to fill this gap in the literature by illuminating some of the pitfalls inherent in the lack of discussion on (and by) trans people in music education. In addition, this article provides five actionable suggestions for working with trans students: (1) Learn about the trans community, (2) inspect your language and biases, (3) represent the diversity of trans people in your teaching, (4) promote healthy music-making and identity development, and (5) model allyship.

The Oxford Handbook of Virginia Woolf

2021 ◽  
Keyword(s):  
Secondary Students ◽  
Virginia Woolf ◽  
Magical Realism ◽  
Natural World ◽  
The Novel ◽  
Post Secondary ◽  
The Core ◽  
The Times ◽  
The Many ◽  
Hogarth Press

With thirty-nine original chapters from internationally prominent scholars, The Oxford Handbook of Virginia Woolf is designed for post-secondary students, scholars, and common readers. Feminist to the core, each chapter offers an overview that is at once fresh and thoroughly grounded in prior scholarship. Six parts focus on Woolf’s life, her texts, her experiments, her as a professional, her contexts, and her afterlife. Opening chapters on Woolf’s life address the powerful influences of family, friends, and home. Part II on her works moves chronologically, emphasizing Woolf’s practice of writing essays and reviews alongside her fiction. Chapters on Woolf’s experimentalism pay special attention to the literariness of Woolf’s writing, with opportunity to trace its distinctive watermark while ‘Professions of Writing’, invites readers to consider how Woolf worked in cultural fields including and extending beyond the Hogarth Press and the Times Literary Supplement. Part V on ‘Contexts’ moves beyond writing to depict her engagement with the natural world as well as the political, artistic, and popular culture of her time. The final part, ‘Afterlives’, demonstrates the many ways Woolf’s reputation continues to grow. Of particular note, chapters explore three distinct Woolfian traditions in fiction: the novel of manners, magical realism, and the feminist novel.

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