Music curriculum in Nigerian secondary schools and colleges: What relevance?

2007 ◽  
Vol 6 (1) ◽  
Author(s):  
F Faseun
Keyword(s):  
Secondary Schools ◽  
Music Curriculum

The music curriculum in Hong Kong secondary schools — intentions and constraints

1998 ◽  
Vol os-31 (1) ◽  
pp. 37-58 ◽  
Author(s):  
Fanny Yuen-Fun Ng ◽  
Paul Morris
Keyword(s):  
Hong Kong ◽  
Secondary Schools ◽  
Qualitative Data ◽  
Objective Assessment ◽  
The Other ◽  
Music Curriculum ◽  
Teachers Perceptions ◽  
Academic Knowledge ◽  
Key Dimensions ◽  
Three Components

This paper has three purposes: it reviews the official aims of the formal music curriculum as promulgated by the Hong Kong Government, compares them to teachers’ perceptions of those aims and analyses the explanations of teachers for the pedagogic approach they emphasize. The analysis indicates that a balanced music curriculum is promoted which incorporates three components, namely: listening, performance and composition as its key dimensions. However, a combination of quantitative and qualitative data, collected by questionnaires and interviews showed that musical experiences associated closely with listening were perceived by teachers to be more important than the other components. What emerged most clearly from the explanations of the teachers was the extent to which the prevailing ethos of schooling in Hong Kong, which places a premium on the transmission and objective assessment of academic knowledge, was seen to be a powerful influence on the music curriculum. The result is an implemented music curriculum which is constrained by the broader context of schooling and is heavily.oriented to providing students with listening experiences.

Music History – On the Decline?

1990 ◽  
Vol 7 (3) ◽  
pp. 239-247 ◽  
Author(s):  
Janet Ritterman
Keyword(s):  
Higher Education ◽  
Secondary Schools ◽  
Central Element ◽  
Music History ◽  
Music Educators ◽  
Music Curriculum ◽  
Curriculum Content ◽  
British Music ◽  
Changing Attitudes ◽  
The Impact

The position of music history, traditionally regarded as a central element of the music curriculum in higher education as well as in secondary schools, has seemed to be challenged both by recent changes in the curriculum content and by reappraisals of the philosophy and practice of advanced musical study. This article, an expanded version of a paper given in the session on Curriculum Developments in Higher Education at the first British Music Educators' Conference in Huddersfield in July 1989, assesses the impact of these changes and relates them to changing attitudes within the discipline of musicology as well as within other historically based areas of enquiry.

Developing Macau’s junior secondary schools music curriculum

2018 ◽  
Vol 36 (4) ◽  
pp. 574-587
Author(s):  
Marina WY Wong
Keyword(s):  
Secondary Schools ◽  
Music Teachers ◽  
Central Government ◽  
School Curriculum ◽  
Music Curriculum ◽  
Teachers Perceptions ◽  
Junior Secondary Schools ◽  
Junior Secondary ◽  
Common School ◽  
The Government

For centuries, Macau’s schooling has embraced laissez-faire market principles, a stasis that from AY2016/17 is being changed by the government offering schools tuition coupons conditional on their adoption of a common school curriculum. A study of part of this new common curriculum, the development of a music curriculum for junior secondary schools in Macau, addresses three research questions: (a) What are music teachers’ perceptions and how do these frame the implementation of Macau’s common music curriculum? (b) Do music teachers’ expectations align with those of the central government? (c) Do music teachers perceive that they impact on or are impacted by this innovation? Discussion of the findings highlights a controversy about the role of teachers within curriculum development – should teachers be center staged (Lawton (2012 [1980]) or is this view an oversimplification based on false assumptions of a social democratic tradition (Whitty (1985, 2012 [1981])?

The Music Curriculum in Hong Kong Secondary Schools—Intentions and Constraints

1999 ◽  
Vol 100 (5) ◽  
pp. 29-40 ◽  
Author(s):  
Fanny Yuen-Fun Ng ◽  
Paul Morris
Keyword(s):  
Hong Kong ◽  
Secondary Schools ◽  
Music Curriculum

Musical education in Russian secondary schools

1997 ◽  
Vol 14 (1) ◽  
pp. 57-67
Author(s):  
Lena Blackford
Keyword(s):  
Secondary Schools ◽  
Music Education ◽  
Teaching Methods ◽  
Highly Qualified ◽  
Music Curriculum ◽  
Musical Education ◽  
The World ◽  
Comprehensive Schools ◽  
School Music

This paper reviews the traditions of teaching school music in Russia and focuses on the music curriculum for comprehensive schools elaborated by the Russian Academy of Pedagogical Sciences. New teaching methods continue to be developed and, despite economic difficulties in Russia, the number of institutes of higher music education remains high compared to that in other countries. As a result Russia has, perhaps, a greater number of highly-qualified musicians, teachers and performers than any other country in the world.

The Music Curriculum in the Secondary Schools

1960 ◽  
Vol 46 (6) ◽  
pp. 79
Author(s):  
Frances M. Andrews
Keyword(s):  
Secondary Schools ◽  
Music Curriculum

Appraising the extent of digital divide between music teachers and students in Anambra state secondary schools, Nigeria

2021 ◽  
pp. 025576142098624
Author(s):  
Eyiuche Rita Modeme ◽  
Adebowale Adeogun
Keyword(s):  
Secondary Schools ◽  
Music Education ◽  
Digital Divide ◽  
Music Teachers ◽  
Information And Communications Technology ◽  
Music Curriculum ◽  
Reliability Indices ◽  
Anambra State ◽  
High Extent ◽  
Teachers And Students

The study investigated the extent of existence of digital divide between music teachers and students in selected secondary schools in Anambra state. Two objectives and two research questions guided the study using mixed-research design. Three education zones consisting of nine public secondary schools, 18 music teachers and 270 music students formed the sample for the study. Structured questionnaires and oral interview were developed for teachers and students and used for collecting data from the field. The data gathered were presented quantitatively and qualitatively. The reliability indices were .71 and .70 for teachers and students, respectively. Mean and standard deviation and t test were the statistical tools used in the analysis of the work. The findings revealed high extent of digital divide based on the responses of music teachers and students on the place of information and communications technology (ICT) in operative curriculum. There was low extent of digital disparity in ICT knowledge on the teachers’ part and high extent on the students’ part. The recommendations were as follows: the present music curriculum should be restructured to integrate ICT in order to meet the needs of 21st-century music education, and music teachers should be trained to have the wherewithal in ICT applications for bridging the digital disparities.

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