Students’ motivation to engage in music lessons: The Cypriot context

2021 ◽  
pp. 1321103X2098530
Author(s):  
Chryso Hadjikou
Keyword(s):  
Secondary School ◽  
Music Education ◽  
Future Research ◽  
First Year ◽  
Music Curriculum ◽  
Music Lessons ◽  
School Music ◽  
Research Problems ◽  
Future Research Directions ◽  
First Time

Students’ motivation has often been the subject of discussion in the field of music education. This article reports on an exploration of students’ motivation during their first year of attending music lessons in Cypriot lower secondary schools (Year 7). This study was a longitudinal study tracking the students ( N = 170) over one academic year. The first questionnaire was completed as students entered secondary school and the second at the end of their first year when students had encountered the new Cypriot music curriculum for the first time. The findings indicate that students’ overall motivation by the end of their first year at secondary school had diminished. As noted in previous research, problems with student motivation in school music were persistent, notwithstanding changes to the curriculum. The implications of the findings to enhance students’ motivation were examined, and future research directions are discussed.

Teacher as Guide: The Teacher's Role in the Secondary School Music Lesson

1985 ◽  
Vol 2 (1) ◽  
pp. 5-18 ◽  
Author(s):  
Tim Cain
Keyword(s):  
Secondary School ◽  
Music Teachers ◽  
Music Curriculum ◽  
Music Lesson ◽  
Teacher’S Role ◽  
Music Lessons ◽  
School Music ◽  
Teacher's Role ◽  
Teaching Composition ◽  
And Performance

This article is an attempt to explore what we Secondary School Music Teachers should do in our music lessons. To illuminate this problem the author postulates two rôles which he believes many music teachers adopt more or less whole-heartedly: the ‘Instructor’, who passes on a body of received skills, information and perhaps values; and the ‘Enabler’, who sets up conditions in which his or her pupils may discover music.Although both rôles can be fruitful in some areas of the music curriculum, the author considers them inadequate, and attempts to describe a new role which teachers might find more helpful. He outlines ways in which the teacher who adopts this role might operate when teaching Composition, Literature Studies, Audition, Skills and Performance (C(L)A(S)P).

General Practitioners in Music: Monitoring Musicianship Skills Among Intending Secondary Teachers

1996 ◽  
Vol 13 (3) ◽  
pp. 225-232
Author(s):  
Philip Priest
Keyword(s):  
Secondary School ◽  
Music Education ◽  
Training Data ◽  
Music Curriculum ◽  
Graduate Courses ◽  
School Teaching ◽  
Wide Range ◽  
School Music ◽  
One Year ◽  
And Training

Music graduates choosing secondary school teaching as a career and training through one-year post-graduate courses are drawn from an increasingly wide range of degree studies in music and embark on their training year with diverse specialisms and music skills. Yet these students will need to operate as generalists in schools with an ever-widening music curriculum. In this account of procedure in one institution, a view is given of the applied musicianship needed by new teachers and discussion of this invited from all providers of post-school music education and training. Data collected from students who may soon be responsible for music in a school indicate a trend towards improvement in only some areas of musicianship.

scholarly journals Pupil voice and attitudes to music during the transition to secondary school

2016 ◽  
Vol 34 (1) ◽  
pp. 5-39 ◽  
Author(s):  
Dimitra Kokotsaki
Keyword(s):  
Secondary School ◽  
Music Education ◽  
Questionnaire Data ◽  
High Expectations ◽  
Music Lessons ◽  
Learning Expectations ◽  
School Music ◽  
Conditions Of Learning ◽  
Child Engagement ◽  
Pupil Voice

Pupil voice research has been recognised in the last 15 years for its potential to re-shape the conditions of learning and help raise child engagement and standards of achievement. In music education, however, there still seems to exist a misalignment between the content of the curriculum and pupils’ learning expectations and interests. The aim of this study was to explore pupils’ views about school music during the transition to secondary school and identify which components of their music lessons contribute to them feeling happier about music at school. The analysis of interview and questionnaire data revealed some pupils’ disillusionment about music at the beginning of secondary school when their initial high expectations about opportunities for practical musical involvement were not met.

Inspiring the Next Generation of Music Educators: A Multiple Case Study of High School Music Experiences and Career Choice

2020 ◽  
pp. 002242942097578
Author(s):  
Tiger Robison ◽  
Scott N. Edgar ◽  
John Eros ◽  
Kimberly H. Councill ◽  
William E. Fredrickson ◽  
...  
Keyword(s):  
High School ◽  
High School Students ◽  
Music Education ◽  
Multiple Case Study ◽  
Music Educators ◽  
Future Research ◽  
School Music ◽  
Multiple Case ◽  
High School Music

The purpose of this instrumental multiple case study was to explore the roles that high school music educators and the experiences they provide play in influencing high school students’ decisions to pursue a career in music education. Four bounded systems, consisting of programs led by ensemble directors with documented records and reputations for helping matriculate music education students into undergraduate music education programs, were studied. Findings were organized into the following themes: (a) formative attraction to the profession, (b) differing approaches to encouragement, (c) forms of encouragement, and (d) life as a music teacher. Specific implications for practice for multiple stakeholders and implications for future research are provided based on these findings.

scholarly journals Some thoughts on curriculum in music education

2019 ◽  
Vol 36 (1) ◽  
pp. 1-4
Author(s):  
MARTIN FAUTLEY ◽  
ALISON DAUBNEY
Keyword(s):  
Young People ◽  
Music Education ◽  
Search Engine ◽  
Music Curriculum ◽  
Educational Settings ◽  
Children And Young People ◽  
Selective Sampling ◽  
School Based ◽  
School Music ◽  
Good Learning

Curriculum is currently a big issue in England. What a school-based music curriculum should entail, what sorts of things should be taught and learned, and what makes for good learning experiences are all under consideration. One of the issues that crops up in England, and possibly in other jurisdictions too, when these sorts of discussions take place, involves considerations of what sorts of music children and young people should be involved with, what should they learn, and what is important for schools to be teaching. This immediately places discussions beyond what might be termed the strictly musical, and into the area of values. What music is valued by education systems, and what music should be foregrounded in educational settings become a significant arena of contention. This is especially the case when politicians become involved, as they will often have fixed or politically-motivated views about what they think should be taught and learned in school music classes. As ever, the pages of the BJME provide some interesting views on this matter, and so it is worth a brief trawl through the archives. The BJME home page search engine on the website produces 168 results for the term “curriculum”, so clearly this will be a highly selective sampling from these rich pickings in this editorial.

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.

Music Education Assessment and Social Justice

2015 ◽  
pp. 512-524
Author(s):  
Martin Fautley
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Daily Basis ◽  
World Music ◽  
Western World ◽  
Music Curriculum ◽  
Education Assessment ◽  
Music Making ◽  
School Music ◽  
Music Classrooms

This chapter considers the role that assessment, particularly formative assessment, has to play with regard to social justice purposes in education. It disentangles the notion of assessment from that of testing. Valorization of music is highly significant, as what is valued tends to be what is assessed. This can result in the disenfranchising of world music, pop, rock, and jazz on a daily basis in music classrooms all over the Western world; so this chapter problematizes the content of the music curriculum, too, asking whether that which can be labeled “school music” has any relevance beyond itself. To counter these problems, this chapter suggests the use of feed forward, which takes place during music making, privileging process over product. It suggests that the principal purpose of assessment should be to improve learning in music, not to simply provide data for systemic purposes.

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.

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