Contemporary Perspectives for Curriculum Theory

2021 ◽  
pp. 77-116
Author(s):  
Thomas A. Regelski
Keyword(s):  
Music Teachers ◽  
Practice Theory ◽  
Action Learning ◽  
Curriculum Theory ◽  
Music Curriculum ◽  
Post Modernism

This chapter thoroughly examines practice theory and its more recent cousin, praxis theory. Practice theory has three aspects: theoria, technē, and praxis. It is not to be confused with the commonplace use of the word “practice.” Thus, some details are needed to correct frequent misunderstanding of the term and theory by many authors. Extensive application to musicing and music curriculum helps understand these key ideas and their importance for music teachers. In addition, action learning is stressed for its relationship to community musicing, and post-modernism is explored both for its circularity and for its critical usefulness in exposing the metanarratives of traditional schooling.

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.

scholarly journals Policy at the Intersection of Curriculum and Music Teacher Agency

2020 ◽  
Vol 107 (1) ◽  
pp. 37-42
Author(s):  
Janet Revell Barrett
Keyword(s):  
Choral Music ◽  
Policy Process ◽  
Hip Hop ◽  
Music Teachers ◽  
Music Programs ◽  
Music Teacher ◽  
Music Curriculum ◽  
Policy Environments ◽  
District Initiatives ◽  
Principles Of Change

Music teachers seek imaginative openings to expand the reach and scope of the music curriculum, particularly by engaging more students in creative production and culturally relevant offerings. This article describes the work of a high school choral music educator who implemented new courses in Hip Hop Production by strategically navigating the policy process for course approval in his school district, informing the proposal with readily available data, consulting with colleagues, and aligning the purposes of the courses with district initiatives. As a case of music teachers’ curricular agency, this story illustrates valuable orientations and principles of change that open up avenues for the expansion of music programs in the context of district-level policy environments.

Understanding curriculum based on the study of Chinese “Gu Qin”

2016 ◽  
Vol 35 (3) ◽  
pp. 403-413
Author(s):  
Xiaoming Yi
Keyword(s):  
Lived Experience ◽  
Musical Instrument ◽  
Curriculum Theory ◽  
Music Curriculum ◽  
Teaching Process ◽  
The Ancient Chinese

This article initiates a dialogue between Chinese “ Gu Qin” art and curriculum theory. “ Gu Qin” is the ancient Chinese musical instrument which best embodies Chinese aesthetic notions. The ancient Chinese never regarded Gu Qin as only an instrument; they thought that performing on it was a process of experiencing life and self-cultivation. Therefore, the value of pursuing Gu Qin study is not only the skill that is mastered, but also the growth of the spirit. This orientation makes the teaching of Gu Qin a fight against instrumental rationalism and materialism. It highlights lived experience based on the unity of the subjective and the objective, and breaks the closed, predetermined teaching process to create openness and possibilities. All of these characteristics have much in common with the new perspectives on curriculum and can help us better understand what a curriculum and a music curriculum are.

scholarly journals Creating a Meaningful Music Curriculum for Students With Disabilities

2019 ◽  
Vol 33 (1) ◽  
pp. 47-49
Author(s):  
Ellary A. Draper
Keyword(s):  
Special Education ◽  
Students With Disabilities ◽  
Music Teachers ◽  
Traditional Curriculum ◽  
Music Curriculum ◽  
Music Classroom ◽  
Functional Curriculum

When teaching students with disabilities, it is important for music teachers to consider the functionality of the skills taught and learned beyond the music classroom. In special education, a curriculum centered on the life-long skills important for students to be independent in their communities is called a “functional curriculum.” Before considering how to adapt a traditional curriculum for students with disabilities, music teachers can used the ideas based in functional curriculum to develop a functional music curriculum, ensuring that both students with and without disabilities are learning the skills to engage in life-long music experiences.

Integrating Social-Emotional Learning Into Our “New Normal” Teaching Elementary General Music

2020 ◽  
pp. 104837132096137
Author(s):  
Taryn Raschdorf ◽  
Brittany Nixon May ◽  
Amie Searcy
Keyword(s):  
Music Teachers ◽  
Social Emotional Learning ◽  
Music Educators ◽  
Emotional Learning ◽  
General Music ◽  
Music Curriculum ◽  
Social Emotional ◽  
Building Relationships ◽  
Music Classroom ◽  
Elementary General Music

As social-emotional learning (SEL) initiatives are being adopted by many states and school districts, many music teachers have been actively and successfully integrating SEL into their elementary general music curriculum. Whether teaching in person or remotely music educators can create an environment conducive to SEL by practicing mindfulness, building relationships with and between students, encouraging family music engagement, and engaging in inclusive music activities. In this column, you will find resources and ideas about SEL, discover how it looks and functions in the music classroom (virtual or not), and hear from music educators who currently incorporate SEL in their teaching.

Elsie Shawe, Music Supervisor in St. Paul, Minnesota (1898–1933)

2004 ◽  
Vol 52 (4) ◽  
pp. 328-342
Author(s):  
Sondra Wieland Howe
Keyword(s):  
Public Schools ◽  
Music Education ◽  
Music Teachers ◽  
National Level ◽  
The United States ◽  
National Accounts ◽  
Music Curriculum ◽  
School Music ◽  
The Board Of Directors ◽  
Music Supervisor

Elsie Shawe (1866–1962), supervisor of music in St. Paul, Minnesota, for thirty-five years, is an example of a music supervisor in the United States who was active in the formative years of the Music Supervisors National Conference (MSNC). Although she is cited only briefly in national accounts, there is a substantial amount of material on her career in local archives. In the St. Paul Public Schools, Shawe supervised classroom teachers, organized the school music curriculum, and conducted performances in the community. She served as a church organist and choir director in St. Paul and was president of the Minnesota Music Teachers Association. At the national level, Shawe was an officer of the NEA Department of Music Education and a member of the board of directors of the MSNC. Through her committee work, Shawe promoted the standardization of patriotic national songs.May 5, 2004November 10, 2004.

scholarly journals Effect of Christian Related Music on Choice of Music as a Study Subject by Muslim Students in Mombasa County, Kenya

2021 ◽  
Vol 2 (3) ◽  
Author(s):  
Sumba B. Shitambasi
Keyword(s):  
Quantitative Methods ◽  
Music Teachers ◽  
Group Discussion ◽  
National Level ◽  
Sample Population ◽  
Music Curriculum ◽  
Muslim Students ◽  
Qualitative And Quantitative Methods ◽  
School Music ◽  
The Subject

The purpose of this study was to evaluate the content of the secondary school music curriculum to establish the effect of the presence of Christian related music in the curriculum on the choice of Music as a study subject by Muslim students in Mombasa County, Kenya. The study used a survey research design. The sample population consisted of 27 participants as follows: 2 music teachers, 8 students, 8 parents, 1 Kenya Institute Curriculum Development Officer at the national level, 1 Quality Assurance and Standard Officer and 7 career masters. Data was collected through questionnaires, interviews and focus group discussion, which was analysed using both qualitative and quantitative methods. Findings show that Christian beliefs compete with Islamic beliefs thus Muslim students find it offensive to pursue the subject and learn Christian related music and values therein. In conclusion, Christianity and Islamic beliefs are two dominant religions that are competing rather than complementing religions; Muslim students find it hard to pursue music subject due to the elements of Christian related music in the curriculum. The study recommends that the choice of music subject by Muslim students is dependent on the provision of Islamic music in the music curriculum and must be incorporated to attract their enrolment.

Music teachers and their implementation of the new Music Curriculum Standards in China

2019 ◽  
Vol 37 (2) ◽  
pp. 178-197
Author(s):  
Zhuo Yu ◽  
Bo-Wah Leung
Keyword(s):  
Music Education ◽  
Rural Schools ◽  
Music Teachers ◽  
Current Knowledge ◽  
Curriculum Standards ◽  
Music Curriculum ◽  
Structured Interviews ◽  
Student Centered ◽  
Service Training ◽  
Trained Teachers

The Ministry of Education of China issued a new document of Music Curriculum Standards in 2011 substituting the old version of 2001. This study aims to investigate how music teachers in China implement and respond to the Curriculum Standards through a questionnaire survey and semi-structured interviews with voluntary teachers. A total of 2206 music teachers from 15 regions/provinces responded to the survey in 2015. Findings reveal that, after a few years of implementation, most teachers found different constraints in implementing the new curriculum. Trained teachers, younger teachers and experienced teachers are more receptive and capable in implementing the curriculum, while rural schools are still in a disadvantaged situation. Most teachers do not understand the concept of music education as aesthetic education. In-service training is found to be insufficient, especially in rural schools. In sum, the current ‘knowledge-centered curriculum’ might need to be redirected to the directions of society-centered and student-centered in order to make a balance.

The music curriculum as ‘received’ by children: Evidence from Cyprus primary schools

2006 ◽  
Vol 23 (2) ◽  
pp. 187-204 ◽  
Author(s):  
Natassa Economidou Stavrou
Keyword(s):  
Primary School ◽  
Primary Education ◽  
Primary Schools ◽  
Curriculum Theory ◽  
Music Curriculum ◽  
School Subjects

This article reports on research investigating the ‘received’ music curriculum as experienced by children and how this corresponds with the expectations of the official music curriculum. The research was conducted in Cyprus and the sample consisted of 1196 children in their final year in primary school. Results verify a huge gap between curriculum theory and implementation, revealing that knowledge accumulated during the six years of primary education is far distant from the over-optimistic intentions of the official music curriculum. Additionally, music was found to be one of children's least favourite school subjects, suggesting the need for a more learner-centred and process-orientated music curriculum.

Music: a source of deep imaginative satisfaction?

1998 ◽  
Vol 15 (3) ◽  
pp. 295-301 ◽  
Author(s):  
Charles Byrne ◽  
Mark Sheridan
Keyword(s):  
Action Research ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Dynamic Network ◽  
Communication Link ◽  
Learning Approaches ◽  
Music Curriculum ◽  
Teaching Techniques ◽  
Insight Into ◽  
Air Issues

This paper gives the first insight into the establishment and development of the Strathclyde Consortium for Action Research in Learning Approaches and Teaching Techniques in Inventing (SCARLATTI) Project, and reflects on the changes to the music curriculum in Scottish secondary schools over the last twenty years. There is evidence to support the view that Inventing is an area of the curriculum which is causing music teachers some anxiety (Sheridan, 1992) and this paper examines the teaching and learning of the skills required of both teachers and pupils for the Inventing element of Standard Grade music (Byrne, 1996). The authors have launched an action research music project (Bresler, 1995; Adelman & Kemp, 1992; Treacher, 1989) which it is hoped will refocus the thinking of music teachers in schools by creating a dynamic network to provide a forum for the discussion of ideas and a means whereby experiences and materials can be shared, and new approaches and methods considered and implemented. A feature of the SCARLATTI project is a World Wide Web discussion group that will provide a communication link for schools involved in the project as well as a platform for teachers to air issues, ideas and views.

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