Teaching, Learning, and Curriculum Content

2012 ◽  
pp. 440-459
Author(s):  
Chris Philpott ◽  
Ruth Wright
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Theoretical Framework ◽  
Music Teaching ◽  
Curriculum Content ◽  
Music Classroom ◽  
Basil Bernstein ◽  
Curriculum Models ◽  
Democratic Rights ◽  
Teaching Learning

This article, which addresses the interfaces between learning, teaching, and curriculum in classroom music teaching, presents a theoretical framework drawn from the work of the British sociologist Basil Bernstein that allows for the analysis of different curriculum and pedagogic models in music education. To elaborate on this, a number of different curriculum models are presented and analyzed. Finally, the article shares some thoughts concerning future music curricula, based on Bernstein's principles of democratic rights in education, which focus on the possibility of promoting social justice in the music classroom.

Informal Learning as a Catalyst for Social Justice in Music Education

2015 ◽  
pp. 301-317
Author(s):  
Lucy Green ◽  
Flavia Narita
Keyword(s):  
Social Justice ◽  
Critical Pedagogy ◽  
Music Education ◽  
Informal Learning ◽  
Critical Consciousness ◽  
Music Classroom ◽  
Informal Music Learning ◽  
Learning Practices ◽  
School Music ◽  
Teachers And Students

This chapter considers social justice in relation to the incorporation of a set of informal learning practices within the secondary school music classroom and teacher education. It interprets Nancy Fraser’s view of social justice as “parity of participation” in order to suggest that the dialogical approach of informal music learning practices can potentially promote such participatory parity. It then examines Paulo Freire’s concept of critical pedagogy, which emphasizes the need for teachers and students to participate together in the learning process so as to enhance critical consciousness. Through an application of Green’s theory of musical meaning, the authors suggest that critical consciousness in music can be aided through a deeper understanding of music’s sonic materials and their inter-relations. Informal learning in the music classroom may promote both parity of participation and critical consciousness, with the potential to lead to a liberating musical experience.

scholarly journals Music education and social development

2019 ◽  
Vol 8 (2) ◽  
pp. 124-127
Author(s):  
Oswaldo Rodríguez
Keyword(s):  
Music Education ◽  
Social Development ◽  
Art Education ◽  
Learning Processes ◽  
Arithmetic Geometry ◽  
Children And Youth ◽  
Music Teaching ◽  
Music Schools ◽  
Teaching Learning ◽  
Political Mediation

Art education practices could strategically target those political, social and cultural disparities that negatively affects children and youth. Targeted practices are becoming more concurrent, and such is the case with music education. Historically, music education has directed its efforts mainly to the development of the so-called vocation or talent to play an instrument or to sing. It has been mostly focused to disciplinary training. Consequently, institutionality has governed the music teaching-learning processes since medieval times, prolonging the classical idea of trívium (grammar, dialect, rhetoric) and quadrivium (arithmetic, geometry, astronomy, music) with political mediation of the so-called conservatories or music schools.

scholarly journals Assessment in the Secondary Music Classroom

2012 ◽  
pp. 475-494 ◽  
Author(s):  
Martin Fautley ◽  
Richard Colwell
Keyword(s):  
Secondary School ◽  
Music Education ◽  
Student Assessment ◽  
Music Pedagogy ◽  
Music Classroom ◽  
Secondary Music ◽  
Accountability Policy ◽  
School Music ◽  
Teaching Learning

The issue of assessment in music education in the secondary school is one of concern in a range of contexts, including teaching, learning, accountability, policy, and politics. In order to investigate assessment in the secondary school, there is a need to understand what assessment is; what the terminologies involved mean; what the implications of assessment are for learners, teachers, program organizers, administrators, legislators, and other interested stakeholders; and what constitutes secondary school music. This article considers the following issues in student assessment: the context of assessment, the uses and purposes of assessment, legitimizing assessment, and assessment and music pedagogy.

scholarly journals Innovation and Practice of Music Education Paths in Universities under the Popularity of 5G Network

2021 ◽  
Vol 2021 ◽  
pp. 1-11
Author(s):  
Haoyu Cao
Keyword(s):  
Information Technology ◽  
Big Data ◽  
New Media ◽  
Music Education ◽  
Information Society ◽  
Rapid Development ◽  
Colleges And Universities ◽  
Music Teaching ◽  
Music Classroom ◽  
College Music

With the development of the 5G mobile Internet, cloud computing, Internet of Things, and other cutting-edge technologies, the era of big data has quietly arrived. The purpose of this paper is to explore the feasibility of the application of new technologies for music teaching in the era of big data in the context of the rapid development of science and technology in the information society, to enlighten and lead music teachers to apply the spontaneous and conscious awareness of new media and fully apply the new achievements of science and technology in the information society for future music classroom teaching, and to analyze the mode, method, trend, characteristics, advantages, and disadvantages of music teaching in the new media environment. The aim is to analyze the advantages and shortcomings of music teaching in colleges and universities and to find solutions and future development strategies for them so that in the future, the 5G Internet can better serve music lovers and better contribute to the cause of music education in colleges and universities. New media, as a product of constantly updated information technology, provides powerful data support for the development of various fields, and the education industry also needs new media to boost the rapid development of education information technology, which of course includes college music teaching. The effective integration of new media technology into the college music classroom can improve the classroom efficiency of music teaching with rich and diverse teaching resources and flexible teaching forms.

A Model for Online Music Education

2018 ◽  
pp. 202-225
Author(s):  
Radio Cremata
Keyword(s):  
Music Education ◽  
Secondary Level ◽  
Music Teaching ◽  
Technological Advancement ◽  
Music Learning ◽  
Post Secondary ◽  
Online Music ◽  
Education Profession ◽  
Teaching Learning

This chapter proposes a sustainable model for online music education in post-secondary contexts. This model is framed around the intersections and along the continua of formal and informal music teaching/learning, conscious and unconscious knowing/telling, synchronous and asynchronous musical e-spaces/places, currencies, and e-collaboration. The model maintains deterritorialization (i.e., an e-space or e-place without boundary) as a foundational underpinning. The purpose of this chapter is to interrogate notions of online music learning, challenge preconceptions, and leverage innovation and technological advancement to redefine and re-understand how music can be taught and learned in e-spaces and e-places. The chapter can serve to disrupt traditional conceptions of musical teaching/learning. By disrupting the cycle that perpetuates music education at the post-secondary level, this chapter seeks to leverage online innovation, draw out technological inevitabilities, and push the music education profession forward towards new frontiers.

A Model for Online Music Education

2021 ◽  
pp. 193-216
Author(s):  
Radio Cremata
Keyword(s):  
Music Education ◽  
Secondary Level ◽  
Music Teaching ◽  
Technological Advancement ◽  
Music Learning ◽  
Post Secondary ◽  
Online Music ◽  
Education Profession ◽  
Teaching Learning

This chapter proposes a sustainable model for online music education in post-secondary contexts. This model is framed around the intersections and along the continua of formal and informal music teaching/learning, conscious and unconscious knowing/telling, synchronous and asynchronous musical e-spaces/places, currencies, and e-collaboration. The model maintains deterritorialization (i.e., an e-space or e-place without boundary) as a foundational underpinning. The purpose of this chapter is to interrogate notions of online music learning, challenge preconceptions, and leverage innovation and technological advancement to redefine and re-understand how music can be taught and learned in e-spaces and e-places. The chapter can serve to disrupt traditional conceptions of musical teaching/learning. By disrupting the cycle that perpetuates music education at the post-secondary level, this chapter seeks to leverage online innovation, draw out technological inevitabilities, and push the music education profession forward towards new frontiers.

scholarly journals Challenging exclusionary paradigms in the traditional musical canon: Implications for music education practice

2011 ◽  
Vol 29 (4) ◽  
pp. 374-386 ◽  
Author(s):  
Marsha Kindall-Smith ◽  
Constance L. McKoy ◽  
Susan W. Mills
Keyword(s):  
Social Justice ◽  
Critical Pedagogy ◽  
Music Education ◽  
Culturally Responsive ◽  
Teaching And Learning ◽  
Three Dimensions ◽  
Music Teaching ◽  
Education Practice ◽  
Public Middle School ◽  
Responsive Instruction

The authors propose that best practices in music education require a conceptual understanding of music teaching and learning based on a perspective of social justice and equitable access for all students. Examinations of the relationship between the tenets of culturally-responsive teaching and three dimensions of music teaching and learning (musical content, instruction, and context) are presented: (1) historically, through the identification of neglected African American contributions to Appalachian music; and (2) pedagogically, through the chronicling of social justice content and culturally-responsive instruction as taught in an urban university and public middle school. The implications of issues of power and social justice for music education are further contextualized within the lens of critical pedagogy to uncover possibilities for a 21st century canon of music teacher preparation that will maximize the potential to transform music education practice.

Can Music Teaching Be a Powerful Tool for Social Justice?

2015 ◽  
pp. 538-548 ◽  
Author(s):  
John Sloboda
Keyword(s):  
Social Justice ◽  
Conflict Resolution ◽  
Music Education ◽  
Effective Means ◽  
Music Teaching ◽  
Musical Cultures ◽  
Term Evaluation ◽  
Musical Activities

This chapter reflects on how practitioners may differently relate to social justice issues in music education according to their personal and professional priorities. The relative merits of micro- and macro-approaches to social justice in music are discussed. It is argued that social justice goals are particularly strongly linked to the development and support of musical cultures that are sustainable beyond specific educational contexts, and that are embedded in the wider society. Music may not always be a very effective means of promoting social justice, as exemplified by the experience of using musical activities for conflict resolution and inter-group reconciliation. For greater understanding, long-term evaluation of social justice outcomes is required, measured by explicit and agreed metrics.

scholarly journals Teaching–learning resources and supports in the music classroom: Key aspects for the inclusion of visually impaired students

2018 ◽  
Vol 37 (1) ◽  
pp. 17-28 ◽  
Author(s):  
Angela Pino ◽  
Laia Viladot
Keyword(s):  
Music Education ◽  
Visually Impaired ◽  
Point Of View ◽  
Learning Resources ◽  
Structured Interviews ◽  
Music Classroom ◽  
Music Specialists ◽  
Visually Impaired Students ◽  
Teaching Learning ◽  
Key Aspects

Currently, there still exist barriers that prevent a satisfactory connection between music education and the visually impaired population. This is due to the teachers’ lack of preparation and their general ignorance of the functioning of the Braille music system, the materials, specialist support, and other tools needed for the inclusion of this type of students in the classroom. In order to familiarize the educational community with the resources and specialist support involved in inclusive music teaching, we conducted and analysed semi-structured interviews with the following persons: (1) the music specialists at the Organización Nacional de Ciegos Españoles Resource Centre (Spanish National Organization of the Blind); (2) a music teacher who had two visually impaired students in her classes; and (3) a blind student who studied music and had specialized in piano performance. The contributions made by this article consist of the categorization of the different teaching–learning resources involved in inclusion, information on how specialist support can be provided to facilitate these resources, and the relationships between resources and specialist support taking into account the point of view of teacher as the main figure responsible for inclusion in the music classroom.

scholarly journals Social Justice in the English Secondary Music Classroom

2015 ◽  
pp. 425-445
Author(s):  
Chris Philpott ◽  
Jason Kubilius
Keyword(s):  
Social Justice ◽  
Secondary School ◽  
Secondary Schools ◽  
Music Education ◽  
First Century ◽  
Music Teacher ◽  
Music Classroom ◽  
Secondary Music ◽  
History Of ◽  
Key Questions

Taking as its context the development of music education within English secondary schools (students aged 11–18) over the last 50 years, and supported by “vignettes” from a practicing music teacher in a secondary school on the outskirts of London, this chapter seeks to address some key questions around social justice and music education, including: What is meant by social justice in the music classroom? What are the indicators for a socially just classroom? The chapter goes on to explore significant moments in the history of classroom music in England and how, in spite of best efforts, the promotion of social justice has been “confounded” by subtle cultural forces. The chapter concludes by speculating on the implications of this analysis for the music classroom in the twenty-first century and by reflecting on whether the classroom can ever provide the appropriate “space” for a socially just approach to music education.

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