scholarly journals Status Quo of Music Education in Rural Primary Schools in Zhugou Town

2021 ◽  
Vol 3 (8) ◽  
2020 ◽  
Vol 9 (3) ◽  
pp. 107
Author(s):  
Xi Gu

With the development of medicine, people are more and more aware of the status quo of autistic children. At the same time, more people are concerned about how to help autistic children to establish their social ties, so as to make them have a better life. In recent years, some researches have found that music has generally become a tool for autistic children to communicate with society. Therefore, this paper attempts to emphasize and study how music treats autism from the perspective of music expression and music learning. And then provide reference for more music education attempts.


2019 ◽  
Vol 12 (2) ◽  
pp. 201-217 ◽  
Author(s):  
Andrew King ◽  
Helen Prior ◽  
Caroline Waddington-Jones

This article describes an action research project that aimed to widen participation for music education in schools in England (United Kingdom). The Connect Resound project involved a pilot stage in North Yorkshire (England, United Kingdom) followed by a roll-out to four further geographical regions of England: Cumbria; Durham/Darlington; East Riding of Yorkshire; and Cornwall. The project involved testing a technological framework created to bring music education to schools with little or no music instrumental lessons within primary schools at key stage 2 (pupils aged 7–11 years). The pilot and roll-out phases refined the approach and established a business case for a grant to roll out the project nationally in 2017. The approach used in the study provided not only the instrumental lessons but also continuing professional development for teachers, on-demand technical support, and access to music performances and masterclasses. The research team designed and tested several scenarios for using technology in this environment some of which were using single cameras and others that used a multi-camera set-up. One of the approaches used technology to allow the teachers and pupils access to different camera angles and high-quality audio to deliver the lessons which proved beneficial. The project team captured both video data as well as interviews and questionnaires with participants in order to better understand and refine the approach developed. This article reports upon the challenges and opportunities provided by the project in terms of the technology and environment, an evaluation using a case study approach of how the teachers used the technology, and feedback in the form of questionnaires from pupils and parents/carers concerning the lessons. Issues around the technology concerned time lag, initial technical problems, and background noise in the teaching environment amplified by the technology. The different camera angles adopted in the project proved valuable for teachers, potential issues with assembling and tuning instruments were considered, and beginner technique could be demonstrated using this approach.


Author(s):  
Jerneja Žnidaršič

The purpose of the current study was to investigate whether an experimental programme, based on interdisciplinary interactions between music education and history and the implementation of arts and cultural education objectives, could influence pupils’ interest in Western classical music of the 20th century. The programme was designed on the basis of collaborating with music education and history teachers at two Slovenian primary schools and a Slovenian composer. Classes of pupils, aged fourteen and fifteen, were divided into an experimental and a control group. According to the outcome, the pupils in the experimental group showed a higher level of interest in contemporary classical music after the experiment than their peers in the control group. Furthermore, the pupils in the experimental group reported having listened on their initiative, to more classical compositions after the experiment than the pupils in the control group had.


2019 ◽  
Vol 7 (3) ◽  
pp. 151-162
Author(s):  
Nina P. Rikhter

In this article, in order to find ways to develop modern music education, the experience of musical education of pupils in primary schools in the second half of the 19th – early 20th centuries, in particular, in urban primary schools under the “Regulation of 1872”, is examined. Despite the fact that singing and playing musical instruments were not included in the curriculum of urban schools and were taught outside the classroom time, various examples of teaching singing and playing musical instruments to pupils of urban schools in different regions of Russia are given in the work. The work shows that in a number of schools, for example, in Moscow urban schools, serious attention was paid to music education, singing was a compulsory subject. In some schools, for those who wish, in addition to basic subjects and more often for a small fee, training in playing musical instruments was organized. The article addresses the purpose, content, methods, forms of teaching singing, teaching aids, the use of musical instruments in the lessons, the educational level of teachers, analyzes the change in the status of the subject of singing in the process of reforming the primary education system and transforming urban schools into higher primary schools. The study shows, for example, that one of the main goals of the training was to develop and strengthen the morals of pupils. The content of the training was composed of church chants, prayers, hymns, secular patriotic songs, folk songs, and musical deed. This article may be may be interesting to music education historians, scientists and teachers, university students.


2016 ◽  
Vol 35 (3) ◽  
pp. 381-390 ◽  
Author(s):  
Elinor Hardcastle ◽  
Stephanie Pitts ◽  
José Luis Aróstegui

A small-scale comparative study of music education provision in two Spanish and English primary schools was carried out in 2013–14, using questionnaires, interviews and observations. The study investigated the musical experiences of the children in the two schools, their ambitions for their musical futures, and the classroom practices and policy contexts that shaped these encounters with musical learning. Through thematic analysis and comparison of the data from the two schools, we examine music in children’s lives, music in the classroom, and musical ambitions and values, and consider how well the music curriculum serves the children in each setting.


2010 ◽  
Vol 26 ◽  
pp. 19-31 ◽  
Author(s):  
Hilary Whitehouse ◽  
Neus Evans

AbstractA cultural discourse is not usually considered to be a barrier to the implementation of sustainability in schools. A study conducted in four different state primary schools in regional Queensland, found leading environmental educators did not wish to be identified as “greenies”. “Greenie” is a highly recognisable and well-used community discourse in regional Australia. The social appellation is shorthand for environmentalist and its use is divided almost irreconcilably between pejorative and nonpejorative attributions. To be at variance with dominant social and cultural practices and disorder an established status quo in order to transform schooling, teachers and principals must also indicate they know how to get the ordering right. This is why study participants maintain they are not “greenies” while they implement state recognised sustainability initiatives at school. This paper considers the pejorative aspect of a cultural discourse as a possible barrier to the wider uptake of sustainability in schools in regional Australia.


2019 ◽  
Vol 3 (3) ◽  
pp. 469-485 ◽  
Author(s):  
Colleen B. Maybin

Scholars theorizing in the area of social justice and music education argue that music has the potential to prepare students to engage in a society that cultivates personal freedom and democratic participation. The continued reliance on values and practices of Western art music within music teacher education has resulted in a disconnect between this discourse and professional practice. The status quo perpetuates conditions that limit accessibility, privilege western art music and maintain whiteness as ‘normal’. In this article, I suggest that this disconnection can be addressed by introducing culturally relevant pedagogy within music education training programmes. Culturally relevant pedagogy, focusing on reflexive practice and place-based education, requires pre-service music educators to think deeply about experiences of marginalized music education students and critically examine the values and beliefs they hold. Embedding the values of culturally relevant pedagogy within music education training creates space for music from different cultural contexts including popular music.


Author(s):  
Louis Bergonzi

This chapter explores music education’s relationship to social justice for sexual-diverse and gender-diverse persons and communities. It focuses on music education in the context of public schooling as both a critical site for social justice and social justice education, particularly as related to gender and sexual diversity, and a robustly heteronormative enterprise that receives and sustains oppressive ideologies with regard to gender-sexual diversity. To bring together ideas, Kumashiro’s work in social justice education is drawn upon, specifically his four-part activist theory of anti-oppressive education, as well as recent, emerging research in music education regarding gender-sexual diversity and discussion of music education students and practice. Whether acknowledged or not, social justice intentions and actions with regard to gender and sexual minorities are precast and limited by our awareness of and readiness to identify and act against the multiplicity of ways we benefit from the gender and sexual status quo.


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