Role Of Music Education Research Articles

Place and role of music education in the planned Curriculum for Kindergartens

This article presents the results of a research study involving 159 preschool teachers from across Slovenia. The goal of the first phase of the research, the results of which were obtained through a questionnaire sent to preschool teachers, was to establish the difficulties preschool teachers face during curricular planning. The results of the first phase of the research show that the majority of teachers face problems in planning concrete music goals. The goal of the second phase of the research, the results of which were obtained through the analysis of lesson plans (i.e., the planned curriculum) over a period of three months, was to determine the extent to which preschool teachers took into account the prin-ciples of professional justification, horizontal integration and the development-process approach defined by the Slovene Kurikulum za vrtce (Curriculum for Kindergartens) in the planning of music lessons. The lesson plans of all the preschool teachers participating in the research were analysed in terms of structure, activity, goals, principles, content, teaching strategies and instructional media. The results show that the Curriculum for Kindergartens does not give preschool teachers sufficient support for successful planning of music lessons and that music education is losing professional autonomy within arts education.

A phenomenological study of music teachers' approaches to inclusive education practices among disaffected youth

The drive for `inclusion' has become a prominent feature in UK educational policy agendas and school improvement programmes. The term refers to all children achieving and participating despite challenges stemming from poverty, class, race, religion, linguistic and cultural heritage or gender. While much has been written about inclusion, evidence on how teachers perceive inclusive education practices among young people who are disengaged from learning and educational opportunity (as manifested by non-attendance or under-achievement at school) has been less thoroughly explored. This multiple case study draws on research on secondary school music teachers in `poorly performing', so-called `under-achieving' schools, including three comprehensive secondary schools in the east and south-east regions of England. It reports on what it is that three music teachers can tell us about their beliefs and approaches to inclusive teaching and learning in their pedagogical settings. A phenomenological approach utilizing semi-structured interview was employed to explore music teachers' perceptions of what it is that they think they do in responding to and overcoming the challenge of re-engaging disaffected youth — their perceptions of their own inclusive pedagogic practices. In order to explore the teachers' perceptions further, some artefact prompts in interviews, such as curriculum planning documents, were employed to provide an opportunity to discuss key factors concerning the content of the music courses. The findings emphasize that, for these teachers, inclusive pedagogies involve more than the accumulation of teaching strategies employed by teachers for supporting troubled and troublesome learners. These teachers' pedagogies are informed largely by particular views of music, views of musical learning and learners, views of the kind of knowledge that is created and the educational outcomes that are desired in overcoming the particular challenges of attuning to and re-engaging disaffected learners. Inclusive pedagogic practices in this study were foregrounded and framed by attuning to and re-engaging disaffected learners by: (a) democratizing music learning as social practice; (b) foregrounding high-status creative projects; and (c) using digital technology as pedagogic levers for re-engaging learners. The emergent themes provide a preliminary basis for theorizing about the role of music education in the schooling of disaffected youth.

Levels of Pedagogy in Community Building: The Role of Music Education in Community Building

Implementing a classroom music program is never an easy task. When the classroom is in Fiji and the teacher has never been out of Australia before, that task can seem onerous. Julie Arnold travelled to the South Pacific and facilitated the establishment of a music program, enhancing and extending theoretical knowledge for students and the musical pedagogy of the teachers there. Along the way she met success and disaster. But the experience was valuable one, and not just for the school community. In this personal narrative Arnold draws value from her self-admitted role as a ‘teacher as reflective practitioner’ and through a process of self-examination and community involvement experiences her time there as pivotal in her journey as both a teacher and a learner.

A credo of music pedagogy

More people are currently experiencing and performing music than at any previous time. New technology has made it possible to both create and distribute music all over the world. However, although it is of huge importance, the role of music education is often neglected. What then is the essence of music education? Traditionally people speak of ‘intention to teach’ and ‘intention to learn’ as two basic premises for education, but music education is much more. Music education may reflect the cultural life of a geographical community, re-created community, or imagined community. What are the unique aspects of music education? First, music education leads to a spirit of community; second, people’s abilities to distinguish between different kinds of music are developed; and, third, there is a focus on how to perform all kinds of music. Thus, music education plays a significant role in human development.

An Approach to the History of Music Education in Latin America: Part II: Music Education 16th–18th Centuries

This article follows up on research published in the Bulletin of Historical Research in Music Education in September 1997, on the subject of music education in Argentina from the sixteenth the eighteenth century. (1) purpose of this second study is provide a general panorama of music teaching in the rest of Latin America during the same period, applying the same methodology and categorization of data. Because the colonizing movement began in the Caribbean Islands and extended across Latin America, examples have been selected give punctual data from different countries that may serve as a basis introduce the tendencies in music education in Latin America. Some similarities and differences between music education in Argentina and in other Latin American countries will be discussed. Institutionalized Music Education previous article on Argentina and a diachronic study on music training Institutions (2) both noted that the Catholic Church exercised an outstanding role in music education during the colonial period. Almost every important ecclesiastical see sustained music training, through chapel masters' action. Different sources provide data refering the insular region, especially in the present Dominican Republic: Since 1512 there were two bishoprics, one of la Vega and the other of Saint Domingo de Guzman, that had chapel masters, organists and choruses. (3) The archdiocese of Santo Domingo was created in 1504 by Julio II's papal bull. Cathedral was finished in 1540. When its construction was authorized in 1512, a chapel master and an organist were included. (4) Similar information has been obtained regarding Cuba. In the decree establishing the music chapel of the Santiago de Cuba Cathedral dated February 10, 1682, Bishop Juan Garcia de Palacios was appointed, to entrust Domingo de Flores, city neighbor, the music in organ chant for the Saint Cathedral. (5) This musician was asked conduct the music activity and teach children and priests, or anyone else who expressed interest, the organ chant in order celebrate Mass in a decent way especially on solemn or festival days. In his contract he was granted seventy-five pesos per year and, ... was obliged by himself and by all the chapel members attend Church and sing vespers and masses on the most solemn days as those of first class, Palm Sundays, Holy Maundy, Good Friday, Easter Saturday, November twenty-nine, Saint Sacrament Fetes and any other celebrations held in such Church as well as those of brotherhoods but at private ones performed by devoted people at which he will have no obligation assist unless he receives a payment according his work. same is understood for fetes performed at convents and hermits. named Domingo Flores will have the duty compose at least one complete mass per year, plus Christmas carols and songs be sung at Church in vespers and in Christmas celebrations. He also has compose for less solemn occasions. (6) In South American territories there were similar situations. It is known that Juan Perez Materano was chapel master in Cartagena de Indias, Colombia, from 1534 1552. (7) In the Brazilian colony, governed by the Portuguese Crown, the positions of chapel master and two chorus singers were created on December 4, 1551 at the Salvador see by royal letter. On August 17, 1552 the bishop of Salvador had already appointed musicians for the charge. (8) In the Captaincy General of Chile, in the city of Santiago de Chile: In 1725 the Ecclesiastical Cabildo [cathedral chapter] determined the budget create several musician positions for the metropolitan chanting house, including one of chapel master, that will receive a payment of 350 pesos per year, that were increased 408 two months later by Bishop Don Francisco Salcedo, 'with the duty teach music the chorus children and provide lessons all singers, because it was necessary that all clergymen could skillfully sing the plain chant and the organ or polyphonic one, as we have the experience that natives became pious by hearing music and chant. …

Effects of Music Education on Development of Holistic Empathy

To survey the empathy of 6-yr.-old children and the role of music education in developing empathy from two day-care centers 15 children took part for 3 mo. in music activities once a week; the remaining 15 were controls. Children were tested before and after a period of musical activities. The children's empathy was measured with the Feshbach and Roe Empathy Test and the Ikonen-Nylund Test on Sociability. The teachers completed Weir and Duveen's Prosociability Scale and the Kalliopuska Prosociability Scale. In the trained group empathy increased significantly relative to that of the control group. The holistic view of empathy stresses that an optimal empathy campaign should develop affective, cognitive, and kinaesthetic aspects of empathy.

Report from Annual General Meeting

Discussion between Librarians and Publishers, by Pat Kellogg Music Libraries and Their Role in Music Education, by Mary Ann Higgs

The role of music education

The role of music education

The Parents’ Role in Music Education

The Parents’ Role in Music Education

The Ethnomusicologist's Role in Music Education

The Ethnomusicologist's Role in Music Education