SECONDARY MUSIC MARKETS

2021 ◽  
pp. 151-170
Keyword(s):  
2020 ◽  
Vol 7 (1(11)) ◽  
pp. 155-166
Author(s):  
Adam Porębski

It is no use looking for the educated musicians who were given a chance to come into longer contact with composition as a school subject being part of their formal education. Meanwhile, fascination with an act of creation and willingness to get familiar with music “from the inside” accompany school-age people. It is then that first, bashful compositional attempts are made. Over time, pupils search for new sounds on their instruments, improvise, experiment, get familiar with music literature. Such attempts should not go unnoticed – an observant pedagogue will easily notice creative predispositions in their pupils. In this article, the author shares his pedagogical experiences gained while giving composition classes at the K. Szymanowski Comprehensive Primary and Secondary Music Schools in Wrocław. The idea of promoting the art of composition was fully implemented in the form of the School Composers’ Club, founded in the school year of 2016/2017, the activity of which is based on the author’s original school curriculum, a system of individualized education and various forms of young composers’ presentations. The Club’s activity assumes, on the one hand, preparing pupils to take up compositional studies and, on the other one, fostering their general musical development enriched with creative competences.


1999 ◽  
Vol 16 (2) ◽  
pp. 197-213 ◽  
Author(s):  
Maria Busen-Smith

For some years, music technology has been incorporated into the secondary music Post-Graduate Certificate in Education (PGCE) course at Kingston University. Student evaluations of this work have been supportive in the main, but identified continuing challenges in relation to establishing a sense of ease with its application in education. A range of course developments were devised in response, and closely monitored in 1997. The first half of this article outlines the rationale behind them. It draws upon a range of texts that document the reception of IT in schools and colleges, and on an interpretative response (based on theories of cognition), which the writer feels holds much relevance for music educators. The second half outlines course developments, and includes feedback from students and partner schools. Eighteen months on, the fundamental strategy is still in place, and staff have found it consistent with the requirements for ICT outlined in circular 4/98 by the DfEE.


1990 ◽  
Vol 76 (8) ◽  
pp. 51-52
Author(s):  
Dan Pilotte

2020 ◽  
pp. 1321103X1987107 ◽  
Author(s):  
Gina Ryan

Relationship dynamics between students and teachers are an essential element of one-on-one teaching and learning in music schools. The purpose of this study was to investigate factors leading to student–teacher dyad dissolution in post-secondary music performance studios. A total of 30 students and 30 teachers were interviewed. Interview questionnaires contained closed-ended rating scales and open-ended questions. Unstructured responses were transcribed, coded by units that each represented a contributing factor to dyad dissolution, and then subjected to a frequency count to determine decisive factors leading to dyad dissolution. All factors were subjected to the Framework of Social Levels, which is based on four levels – Interpersonal, Self, Other, and Outside. The majority of students’ dissolution factors were attributed at the Interpersonal level, whereas the majority of teachers attributed dissolution to factors at the Student ( Other) level. Participants cited several factors leading to dyad dissolution including different expectations, different professional goals, poor communication, incompatible personalities, student commitment, teacher teaching abilities, lesson satisfaction, and lack of personal connection.


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