Music and Music Education

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Music education

Music education

In common with other subject areas, the middle stages of secondary Music education will be divided into a Preparatory year (S3) and a Course year (S4), proceeding from the ‘broad general education’ in Expressive Arts in S1 and S2. The design and structure of the Preparatory year will be at the discretion of schools and colleges, facilitating the development of Music programmes that refl ect localised strengths and expertise. In the Course year, students will study at one of three levels: National 3 (broadly equivalent to Foundation/Access under the existing structure), National 4 (General/Int 1) or National 5 (Credit/Int 2). Regardless of level, students will complete three units: Performing Skills, Composing Skills and Understanding Music. All will be internally assessed with external verifi cation from the Scottish Qualifi cations Authority. On satisfactory completion of these modules students will proceed to assessment for the course award comprising a recital on one or more instruments in ensemble and/or solo context. Performance will be assessed by school music staff at National 3 and National 4 level, and by a visiting assessor at National 5. Notably, the performance examination will have a broader scope than has been the case and will include elements of refl ection on repertoire and personal development. National 6, replacing the existing Higher level, retains the features of its predecessor. Additional minor developments include a revised concept list (forming the basis of the Understanding Music unit) and an emphasis of content over duration in the Composing Skills unit.
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How Music Education Helps Students Learn, Achieve, and Succeed Music. Matters

How Music Education Helps Students Learn, Achieve, and Succeed Music. Matters

B eyond the intrinsic value of music to cultures worldwide, education in music has benefits for young people that transcend the musical domain. The Arts Education Partnership (AEP) reviewed an extensive body of research to identify high- quality, evidence-based studies that document student learning outcomes associated with an education in and through music. The results show conclusively that music education equips students with the foundational abilities to learn, to achieve in other core academic subjects, and to develop the capacities, skills and knowledge essential for lifelong success.
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INCLUSIVE MUSIC EDUCATION IN THE SLOVAK REPUBLIC

INCLUSIVE MUSIC EDUCATION IN THE SLOVAK REPUBLIC

Consistent exercitation of the positives of curricular reform in primary art schools is however often blocked by economical and (thence it´s followed by) professional defections. Average materially-technical equipment of schools (rusty musical instruments, didactic and computing techniques and other teaching aids) is well below the European standards and precludes consequent realization of actual reforming conveniences. However, in spite of the lack of financial capital, Slovak graduates of primary art schools produce excellent results in national and foreign artistic competitions with European prestige. In transformation of music education in primary art schools, there is still need to reissue or to publish new textbooks of musical theory for higher year-classes and to ensure musical audio CDs corresponding with particular lessons in textbooks, let us say offer variability of teaching materials. In conceptual intention of artistic schools it is possible to observe the tendency to adapt to parents´ requirements demanding the establishment of new bearings in musical field (e.g. guitar playing, keyboard playing, improvization, electronical processing of sound record), but without competent personal assurance. Trend of compromise has negative effect on the quality of teaching and on absence of musical-pedagogical research and grant activities of primary art schools (Bresler, 2007). Partly downtrend to decreasing professionality in teaching is surely the result of elimination of individual approach thanks to new economical, sociological and legislative situation – in primary art schools as well as in universities in the programs preparing future teachers of pre- primary, primary, secondary, and for still existing artistic education.
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Merton Music Education Hub Business Plan. Merton Music Foundation. Inspirational music education for ALL... Updated: September 2015

Merton Music Education Hub Business Plan. Merton Music Foundation. Inspirational music education for ALL... Updated: September 2015

The Merton Music Education Hub (MMEH) is a partnership of organisations committed to delivering the aims of the National Plan for Music Education for the children and young people of Merton. The Plan sets out to "enable children from all backgrounds and every part of England to have the opportunity to learn a musical instrument; to make music with others; to learn to sing; and to have the opportunity to progress to the next level of excellence." The MMEH is a now key focus for the Charity’s education work. From April 2014, the locally agreed offer includes a School Music Education Plan. The offer has been agreed with our schools, the local authority, key local music leaders and the community, and maps out a child’s entitlement to music education in Merton from 2012-16. Full details of the offer are given in our ‘Operational Plan 2012-16’ (page 33) and the ‘School Music Education Plan’ (page 43). These two documents are updated annually to support developments the following academic year.
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The affective element in	primary school music education : school	music programmes	and	their	influence	on children’s attitudes to music

The affective element in primary school music education : school music programmes and their influence on children’s attitudes to music

rather than by the classroom teachers, to ensure that the procedure and clarification on any questions was consistently the same (G. Anderson, 1998), and to prevent students’ responses being influenced by their perceptions of what the teacher wants. In addition, the time taken to explain the project, sign the consent forms and to complete the survey gave teachers an additional 20 to 30 minutes of non-contact time, depending on year level, although most teachers were interested to observe the process. Being in classrooms also allowed the researcher to gain a sense of the school culture, view the spaces in which music education takes place and make anecdotal notes about students’ body language and comments during discussions about music. Dialogues with teachers during the survey process informally confirmed or clarified insights gained from other sources as well as giving a sense of the value placed upon music by generalist teachers.
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Master's Theses in Music History and Literature, Theses in Music Composition, and Theses and Final Projects in Music Education

Master's Theses in Music History and Literature, Theses in Music Composition, and Theses and Final Projects in Music Education

Gaining Approval for the Thesis in the Graduate School, and Final Destination of the Thesis. One copy of the thesis in Music History and Literature or thesis in Music Education must be submitted to the Graduate School by the date established by Graduate Student Services for graduation in a particular semester; this is usually about two weeks prior to the end of the examination period in the semester. The date is also published in the monthly Graduate School electronic newsletter, which the graduate adviser in music distributes to music graduate students via the music-grads listserv. Theses in Music History and Literature and theses in Music Education become part of the circulating collection of the Golda Meir Library.
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Music Education Training for Teachers

Music Education Training for Teachers

This article is the result of a set of continuing education actions for teachers of the Porto Alegre Municipal Teaching Network (RME-POA), which made possible the learning in music and the expanding of the existing knowledge. From the realization of the courses “Musical Education in Preschool”, “Music Education in Elementary School” was observed its contribution to the peda- gogical practices of the teachers, impelling an investigation to understand the impacts of these actions with the RME-POA. The methodology used included the qualitative approach, participant research, observations, and interviews. Content analysis was the technique for data analysis. As a result, the relevance of continuing education courses for teachers who know the pedagogical prac- tices of their colleagues from a sharing of work developed in the course, felt renewed to work more and better their own practices.
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Music Education Professors’ Beliefs Regarding  Essential Musical, Academic, and Emotional Skills in Undergraduate Music Education

Music Education Professors’ Beliefs Regarding Essential Musical, Academic, and Emotional Skills in Undergraduate Music Education

completing an undergraduate music education degree. A conventional content analysis was used to examine the data with key words noted from participants’ responses. When participants included more than one skill in their response, the key word assigned was that which seemed most emphasized by the participant. When a most emphasized word was not clear, the first key word of the response was used and the remainder of the response was discarded. This was done in an attempt to reduce the effect of verbose responses receiving more weight than succinct responses. In some cases, the example that the participant chose to describe in the final portion of the survey helped clarify their initial response. As themes began to emerge from key words, similar themes were combined into larger categories. These larger categories were established as the coding system, which was then reapplied to the original data using a directed content analysis. Musical Skills
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Analysis of the Communication Levels of the Students Studying in Music Education and Preschool Education in Terms of Music and Different Variables

Analysis of the Communication Levels of the Students Studying in Music Education and Preschool Education in Terms of Music and Different Variables

As a result of the data obtained from the research, it was concluded that the duration of listening to music, using a musical instrument and the type of music they are listening to have a positive effect on the communication levels of the students. In the context of the results, students are encouraged to use any musical instrument in line with their listening and listening skills and to provide the necessary facilities. It is recommended that music education and preschool teachers, especially at different levels of Education, be aware that music has a positive effect on communication which is important in the development of children and in expressing themselves, and that they direct children to different social and cultural activities related to music.
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SYNOPSIS OF SLOVAK MUSIC EDUCATION

SYNOPSIS OF SLOVAK MUSIC EDUCATION

At general education secondary schools, pupils attend only one class linked to music, Arts and Culture, for a total of 2 hours a week. However, this subject is not focused on music education, and the teacher may or may not include musical activities in his/her lesson plans. The aims of this class are listed in the state documents: "Pupils cultivate artistic, aesthetic, visual, acoustic, linguistic and movement literacy; enhance their experience with active creation in projects in the field of various arts and media; distinguish major artistic and cultural trends, streams and types; critically reflect on the current offer of visual culture and media; develop understanding of contemporary artistic and cultural creation; verbally or artistically interpret their own artistic experience; express their own ideas, experience and emotions through different media; engage in responsible attitude to the values of national culture; respect the values and differences of cultures of other nations, and develop awareness of their own cultural identity." (Štátnypedagogickýústav, 2015c, p. 3)
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March Making music matter Music Education Strategy for London

March Making music matter Music Education Strategy for London

and non-formal music education, not all schools benefit from the input of visiting musicians or orchestras. This is sometimes the case for schools in outer London with fewer resident orchestras or concert venues. In London, this is a missed opportunity because there is a very well organised and committed non-formal sector, with music professionals who are keen to work with young people and find ways to help young people to learn together through ensembles. There are some examples of excellent partnership work, such as the London Symphony Orchestra’s ‘On Track’ scheme, which shows how partnerships between schools, music services and orchestras can help create sustainable and high quality music education for young people. • There is a high, unmet demand for
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The Biography of Music Teachers, Their Understanding of Musicality and the Implications for Secondary Music Education

The Biography of Music Teachers, Their Understanding of Musicality and the Implications for Secondary Music Education

If it is part of the purpose of music education to develop young musicians 43 (The Music Manifesto, DfES, 2004), then issues arise which spring from the debate which has been highlighted earlier in this thesis as to precisely what or who a musician actually is. The definitions range form anyone who is engaging in musical activity (Jaffurs, 2004) to those who are considerably more skilled as composers or performers (Rogers, 2002; Fletcher, 1989). This thesis concerns the relationship between a music teacher’s experience and education (their biography) and how this impacts on classroom practice. Wrapped up with this relationship is the hypothesized understanding that biography can influence beliefs and values - our identities - especially (for the purposes of this thesis) in regards to what it is to be a musician and what musicians need to learn, and that these values in their turn, will also impact on the nature of what is taught (or not) in the classroom (Dolloff, 1999; Welch et al, 2011). This current research has been of an exploratory nature which has grown out of the day-to-day work of an ITE tutor at work with his trainees and observing music teaching and learning in schools – both of his trainees and their teacher-mentors. It has sought to gain some insight into these relationships and to postulate what some of the implications for current practice on the potential for developing musicianship in young people might be. In attempting to explore these relationships, it is clear that one approach to research will not be sufficient but that a multi-faceted methodology will be necessary as the investigation will range from observation of classroom practice to interviews which will seek to delve into participants’ life-histories, to a wider survey of beliefs and value systems across a wider population. Four research methods have been the principle sources of data for this study: sorting activities (in the form of two single-question surveys), survey in the form of a questionnaire, observations of teaching, and interviews.
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Performing Identities, Performing Possibilities: A Music-Centered and Relational Perspective on Performance in Community Music Therapy and Music Education

Performing Identities, Performing Possibilities: A Music-Centered and Relational Perspective on Performance in Community Music Therapy and Music Education

participation because their musics are not seen as valuable by the dominant culture (Green, 2012; Small, 1998). Noting the social privilege required to secure the training and musician identity necessary to become a music therapist or music educator (Gonzalez, 2010; Zubrzycki, 2015) it is no wonder that professionals within these disciplines are disproportionately White (AMTA, 2011; Bradley, 2007; Elpus, 2015; Hess, 2017, 2018). In turn, this contributes to a colonial agenda within schools of music, where particular musics are reproduced—thereby validating particular students—and many others are omitted (Bradley, 2007). Race scholars recognize that race is a social construction, performed, not unlike Butler’s notion of gender (Koza, 2008). Whiteness, then, as a “dominant ideology”, is “reinscribe[d]… through superficial engagement with diversity and through failing to engage discourses of race and power” (Hess, 2017, “Interrupting What?”, para. 5). I acknowledge this ideology’s troubling impact upon music education, music therapy, and our clients and students, and recognize that our disciplines must continue to engage critically and reflexively with these themes. Participants in my research were largely Caucasian,
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DEVELOPMENT AND ADMINISTRATION OF MUSIC EDUCATION, CONSERVATORY OF MUSIC, NATIONAL UNIVERSITY PHILIPPINES

DEVELOPMENT AND ADMINISTRATION OF MUSIC EDUCATION, CONSERVATORY OF MUSIC, NATIONAL UNIVERSITY PHILIPPINES

Conservatories should realize the importance of an effective and quality administration system and apply the necessary developments needed to strengthen Thai conservatories to international standards. Public and private colleges should apply developments in the administration of their music education to produce quality and professional graduates of music so that they can apply the knowledge and talents successfully in their future and professions. The Office of Higher Education Commission and the Ministry of Education should apply the knowledge from this research study in creating standard measure in ensuring quality control and certification of conservatory administration.
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INFORMAL AND PARTICIPATORY CULTURES IN MUSIC EDUCATION. Informal and Participatory Cultures in Music Education: Pitfalls and Possibilities

INFORMAL AND PARTICIPATORY CULTURES IN MUSIC EDUCATION. Informal and Participatory Cultures in Music Education: Pitfalls and Possibilities

Upon comparing formalized Canadian music education to informal music learning, it may seem that formal music education is overly rigid and standardized, as it adheres to a set curriculum that requires quantifiable assessment of learning outcomes. This can be seen in The Ministry of Education - Province of British Columbia (2010) Curriculum Guide that focuses on structure and form within music education, and how curriculum should provide learning outcomes that can be “expressed in measurable and observable terms” (p. 11). In reality, formal music education is not always the stringent classically-focused entity that one envisions of music education in conservatories or in days gone by, as jazz, blues and popular music have become a large aspect of the formal school curriculum (Jaffurs, 2004). Yet, a pertinent question arises, ‘if popular music is primarily learned through informal music learning practices, then how are teachers within this formalized environment helping their students learn this popular material within a technologically evolving world?’
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Exploration on Teaching Reform of Vocal Music in Music Education Major in Colleges and Universities

Exploration on Teaching Reform of Vocal Music in Music Education Major in Colleges and Universities

improvement of art conservation of social groups, thus promoting the improvement of the overall comprehensive quality of the masses. Secondly, the reform of music education vocal music course can improve the professional quality of music professionals, enable students to realize their own responsibilities, promote the development of related industries and promote the development of social economy [2]. Thirdly, the reform of music education major can promote the improvement of teaching quality of education major, and education is of great significance to the development of social economy, social system and other aspects. Therefore, the reform of vocal music teaching of music education major in colleges and universities can promote the progress and development of society in the long run.
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A new paradigm in music education: the Music Education Program at The Australian National University

A new paradigm in music education: the Music Education Program at The Australian National University

The intractable nature of an individual’s self-perception can be both puzzling and amusing. One particular example serves to illustrate this problem, but there are many variations on the theme. A teacher came to the first session of a course I was running (Journal 20). She walked up to me as soon as she arrived to say that she couldn’t hold a tune at all and was this course for her? I said absolutely it was. In the first session she, like everyone, sang on her own. Her degree of accuracy in singing a typical Music Education Program song was well within the bounds of the acceptable, even though the song was new to her. Given the teacher’s opening question to me, I initiated a discussion in the group about personal vocal perception to illustrate how wide the discrepancy can be between our own perceptions and those of others. Children, on the other hand, seem to be the opposite if they do not encounter a judgemental environment too early. They sing automatically and do not question their accuracy. They do not even seem to contemplate the question of whether or not they have a fine singing voice. It would appear to be like considering whether one’s speaking voice is ‘good’ or ‘not’ rather than a tool to allow for communication.
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MUSIC EDUCATION IN OKLAHOMA SCHOOLS. A Research Based Approach to Determine the Status and Condition of Music Education in Oklahoma Schools

MUSIC EDUCATION IN OKLAHOMA SCHOOLS. A Research Based Approach to Determine the Status and Condition of Music Education in Oklahoma Schools

Music education in the state of Oklahoma cannot adequately be represented by a statistic or broad sweeping generalization. The true, nuanced story of music education in Oklahoma is to be found in the variety of conditions present in regions, districts and individual schools. This report finds a range of regional factors that influence music education. Some issues do not present themselves until examining community influence. Additional issues become evident when we look at school type, school size and/or student population. These are the insights that exist “below the surface” of state-level percentages that are often obscured by aggregated information. Some findings that may appear to be true statewide are really only true for a small portion or a specific segment of schools. There are a handful of findings that will surprise even those who are knowledgeable about music education in Oklahoma. Some conventional wisdom will be debunked. One thing is clear. This report raises many more questions than it will answer.
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Music Education Assessment Requirements and Review

Music Education Assessment Requirements and Review

The Music Education Program at Southeastern is committed to improving the quality of musicianship of incoming students. In addition, the program is also committed to improving the quality of musicianship and pedagogical proficiency of its graduates. Southeastern will provide regional leadership for music educators, as well as expand services to area musical organizations and the individuals within those organizations. Students at Southeastern will have access to cutting-edge technology that will assist them in becoming leaders in music education throughout Southern Oklahoma and North Texas.
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Waldorf Music Education: Foundations for Excellence

Waldorf Music Education: Foundations for Excellence

A quality music education is a necessity for all students, because of the many intrinsic and extrinsic values that the study of music has for all mankind. Most important among these is music's potential for letting human beings share and communicate thoughts and feelings that transcend the written or spoken word—expressions of the spirit that make us uniquely human and bind us together as a people and a world of cultures. In addition, the study of music is beneficial for its many other outcomes, some of which include the development of social behaviors, such as cooperation and multicultural sensitivity; personal behaviors, such as self-discipline and self-esteem; and educational behaviors, such as integrated and “whole brain” learning. While music has as its basis a complex body of knowledge, making it worth to be called an academic subject, the study of music also enhances all areas of the school curriculum, making music central to the core of all education. Throughout history, advanced societies have included the study of music for their young people in order to prepare them for a life that is rich and varied. Music and a quality life are for everyone. (Phillips, 1998, p.10)
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