This pioneering book reveals how the music classroom can draw upon the world of popular musicians' informal learning practices, so as to recognize and foster a range of musical skills and knowledge ...that have long been overlooked within music education. It investigates how far informal learning practices are possible and desirable in a classroom context; how they can affect young teenagers' musical skill and knowledge acquisition; and how they can change the ways students listen to, understand and appreciate music as critical listeners, not only in relation to what they already know, but beyond. It examines students' motivations towards music education, their autonomy as learners, and their capacity to work co-operatively in groups without instructional guidance from teachers. It suggests how we can awaken students' awareness of their own musicality, particularly those who might not otherwise be reached by music education, putting the potential for musical development and participation into their own hands. Bringing informal learning practices into a school environment is challenging for teachers. It can appear to conflict with their views of professionalism, and may at times seem to run against official educational discourses, pedagogic methods and curricular requirements. But any conflict is more apparent than real, for this book shows how informal learning practices can introduce fresh, constructive ways for music teachers to understand and approach their work. It offers a critical pedagogy for music, not as mere theory, but as an analytical account of practices which have fundamentally influenced the perspectives of the teachers involved. Through its grounded examples and discussions of alternative approaches to classroom work and classroom relations, the book reaches out beyond music to other curriculum subjects, and wider debates about pedagogy and curriculum.
Contents: Introduction; The project's pedagogy and curriculum content; Making music; Listening and appreciation; Enjoyment: making music and having autonomy; Group cooperation, ability and inclusion; Informal learning with classical music; Afterword; Appendices; Bibliography; Index.
Lucy Green is Professor of Music Education in The Institute of Education, University of London, UK.
On the basis of Dewey's principles, Paul G. Woodford explores the social
foundation of current music education practices in the context of democratic values
of freedom, creativity, and contribution ...to society. He then critiques the means by
which this ideal is learned by teachers and taught to students. Woodford concludes
with recommendations for acknowledging democratic and non-democratic values in music
teaching, teacher training, and performance, and suggests steps toward a
liberal music education. Counterpoints: Music and
Education -- Estelle R. Jorgensen, editor
This book compares, from a historical and sociopolitical perspective, the respective systems and contents of music education in mainland China, Hong Kong and Taiwan in response to globalization, ...localization and Sinificiation, with particular reference to Shanghai, Hong Kong and Taipei.
Music 3-5 Young, Susan
2013, 2009., 2009, 20130905, 2008, 2013-09-05
eBook
This book gives information, ideas and principles for music with three to five year olds that are both down-to-earth and up-to-date. Written in a style which is engaging and readable, it integrates ...recent theory and practice illustrating the discussion with examples and ideas taken from real life.
Chapters in this inspiring and engaging book show practitioners how to:
connect with the educational concepts and principles of using music in early years settings
recognise and understand children's musical starting points
foster creativity through music
support listening and communication through music
learn the key areas of listening, singing, using instruments and dancing
develop children's musical understanding
widen opportunities for music through resources, new technologies and visiting artist projects.
Early years practitioners and students will find this a valuable introduction to music with young children. More experienced practitioners will find the contemporary ideas a source of inspiration.
Books in this series address key issues for early years practitioners working in today's Foundation Stage environments. Each title is packed full of practical activities, support, advice and guidance, all of which is in line with current government early years policy. The authors use their experience and expertise to write accessibly and informatively, emphasising through the use of case studies the practical aspects of the subject, whilst retaining strong theoretical underpinnings throughout.
Create a viable, meaningful program that will motivate your students and have them participating with enthusiasm with Middle School General Music: The Best Part of Your Day. A welcome guidebook for ...music teachers trying to navigate the sometimes turbulent waters of middle school general music, it offers strategies and lessons that have been created in the real world of general music by a practicing teacher.
Since the mid-twentieth century, Zoltan Kodaly's child-developmental philosophy for teaching music has had significant positive impact on music education around the world, and is now at the core of ...music teaching in the United States and other English speaking countries. The Kodaly Today handbook series is the first comprehensive system to update and apply the Kodaly concepts to teaching music in elementary school classrooms. Kodaly in the First Grade Classroom provides teachers with a step-by-step road map for developing children's performance, creative movement, and literacy skills in an organic and thoughtful manner. Through six years of field-testing with music kindergarten teachers in the United States, Great Britain, and Hungary (the home country of Zoltan Kodaly), authors Micheal Houlahan and Philip Tacka have developed a methodology specifically for 21st century classrooms. Houlahan and Tacka use the latest research findings in cognition and perception to create a system not only appropriate for the developmental stages of first grade students but also one which integrates vertically between elementary music classes. The methods outlined in this volume encourage greater musical ability and creativity in children by teaching them to sing, move, play instruments, and develop music literacy skills. In addition, Kodaly in the First Grade Classroom promotes critical thinking, problem solving, and collaboration skills. Although the book uses the Kodaly philosophy, its methodology has also been tested by teachers certified in Orff and Dalcroze, and has proven an essential guide for teachers no matter what their personal philosophy and specific training might be. Numerous children's songs are incorporated into Kodaly in the First Grade Classroom, as well as over 35 detailed lesson plans that demonstrate how music and literacy curriculum goals are transformed into tangible musical objectives. Scholarly yet practical and accessible, this volume is sure to be an essential guide for kindergarten and early childhood music teachers everywhere.
Brilliant... important reading for those who teach music, who write the curricular plans for teaching it, and who guide prospective teachers to the profession... It is a must-read, for it awakens ...thoughts about why we teach and how. -- Patricia Shehan Campbell This quintet of essays examines the reasons why music education should be transformed, investigates the nature of education and musical transformation, and suggests alternative educational models and strategies. Estelle Jorgensen frames her argument for new approaches against the backdrop of historical musical and educational practice and draws on literature from various fields. Transforming Music Education is addressed to current and future music teachers, those who train them, and all who are interested in revolutionizing music education.
Travel on and on Dekaney, Elisa Macedo; Cuningham, Deborah Alane
2011., 2010, 2010-12-16
eBook
Incorporate the music of our global community into your classroom with Travel On and On: Interdisciplinary Lessons on the Music of World Cultures. With both traditional and newly composed music and ...material from other content areas, each ready-to-use lesson plan has an interdisciplinary approach to teaching multicultural music. Intended for use in general music classrooms, the lessons encourage collaboration with teachers of other subjects but can also effectively be taught solely by music teachers. Based on the National Standards for music and other subject areas and intended for grades 4-8, each lesson can be adapted for younger or older students with suggested extensions and materials. Bring the music of Latin America, Africa, and the United States into your classroom, with special emphasis on Native Americans, African Americans, and Cajuns. Most lessons also incorporate Orff-Schulwerk pedagogy, with written ostinati for multiple Orff instruments.
In this third and final paper from the Delphi study One Direction, we report on participants' responses to four secondary school music curriculum scenarios. These scenarios present four possible ...directions for a C21 secondary school music curriculum. The scenarios were devised from a combination of ideas derived from the data from the earlier stages of the study (McPhail, G., and J. McNeill. 2019. "One Direction: A Future for Secondary School Music Education?" Music Education Research 21 (4): 359-370; McNeill, J., and G. McPhail. 2020. "One Direction: Strategic challenges for Twenty-first Century Secondary School Music." Music Education Research 22 (4): 432-446) and the concept of specialisation from Maton's Legitimation Code Theory. By asking an international panel of leading music education researchers and teachers to respond to the scenarios, we are able to argue that 'one direction' is unlikely to emerge for secondary school music education, but we discuss the responses, and the scenario dimensions regarded as most likely and desirable. What appears certain is that there will be a continuing weakening of the boundaries between types of knowledge and stylistic arenas suggesting a dialectic relationship between the legitimating principles most valued.
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BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
