Secondary Music Education Research Articles

Latinx Students and Secondary Music Education in the United States

As of 2014, Latinx youth have comprised roughly a quarter of the U.S. population younger than 18 years. Yet Latinx students have not been found to participate in school ensembles at rates consistent with their proportion of the total student population. This disparity has yet to be fully explained by the research literature. The purpose of this review of literature is to synthesize what scholars understand about Latinx student participation in school ensembles. Literature was chosen based on the following research question: What factors may contribute to the disparity between the Latinx student population and the rate of Latinx participation in secondary school music ensembles, nationally? This review revealed several factors that may influence participation rates of Latinx students in secondary music ensembles, including curricular and systemic factors, music teacher attitudes toward diversity, Latinx parental involvement, and Latinx students’ interests. Implications for increasing participation and improving music education for Latinx students are discussed.

Sang Tong’s contribution to the development of the national theory of harmony

Background. The article is devoted to the study of the scientific works of Sang Tong in the field of the national theory of harmony. His studies has a leading role in the development theoretical thought in the area of Chinese musicology and composition. Sang Tong’s contribution to national music education is determined by clarity of presentation of his teaching materials supported by numerous examples that is motivation for students to comprehend the science of composition. Being an outstanding composer, Sang Tong talentedly integrated the dissonant and pentatonic writing, emphasizing in his writings the national specifics due to atonal organization of music. The works of Sang Tong sounds abroad, they are performed on a concert stage, occupies a worthy place in the educational process of students of conservatories from different countries. In this connection, seems to be relevant the purpose of this article is to identify the main provisions of the theoretical works of the outstanding Chinese composer in the field of the national science of harmony and their role in the development of Chinese musical art in the second half of the 20th century. The mastering of this information is extremely necessary for the performers of San Tong music, as well as for teachers who are studying this musical repertoire in a class with students. Finally, the information presented will provide an opportunity to comprehend the artistic value of the musical heritage of Sang Tong, as well as allow attract more wide circles of professional musicians and audiences to his works. The results of the study. The first theoretical work of Sang Tong was the article “Theory of chord application and their subordination” (1957), where the musician analyzes the views of various authors on the problem of harmonization in composer’s work, systematizes them, giving a personal assessment. He gives many examples of the use of one or another composition tool. The composer considers methods of textural complexity in the study “Parallels to historical evolution and its application in Chinese and foreign musical works combined with pentatonic melody” (1963). In searching for his own composer’s writing, Sang Tong wanted to find the perfect textural balance: on the one hand, not reaching the difficult to perceive linear polyphony, on the other – not simplifying the texture into primitive forms of contrasting polyphony (as a variation of heterophony). The research experience of the 1960s and the 70s Sang Tong summarized in the monograph “Discussion on the horizontal and acoustic structure of pentatonic” (1980), which became a quality-teaching tool in the field of secondary music education. University vocalists also study at lectures on harmony, which helps them to expand the horizons of knowledge about national music. In 1982, Sang Tong published the first comprehensive study of contemporary music in China entitled “Introduction to harmonic processing techniques” in the journal Musical Art. Since 1994, Sang Tong planned to write a fundamental work that sums up his research – the ontology of Chinese music, but from year to year, because of illness, postponed it. Finally, in 2004, the Shanghai Music Publishing House published a series of Sang Tong articles in the form of a monograph “The Historical Evolution of Semitones”. This work is a fundamental study of the history of the development of harmony in China, which provides answers to the questions of the evolution of Chinese semantics and, related to it, the theory of the acoustics of Chinese instruments. Thinking about the quality of secondary music education, Sang Tong decided to prepare a textbook for an initial five-year program of study. In 2001, he published the Harmony Course, submitting it to the state commission for consideration as a school textbook. The San Tong’s Course of Harmony has become a basic national textbook in China. To date, the level of this theoretical work is considered unsurpassed and attributed to masterpieces in the field of music education. It is distinguished by a solid theoretical foundation that allows the students to find any answers to questions concerning the principles of voce-leading, transport, rules of resolution of various intervals. Conclusions. The composer and theorist Sang Tong entered the history of Chinese music of the twentieth century as the founder in the field of the modern national theory of harmony. For more than fifty years of academic research, Sang Tong has made an outstanding contribution to the development of theory of harmony in China, was creating a number of musicological studies of harmony that demonstrate the highest theoretical level. He laid a solid foundation for the future development of the national school of harmony theory, bringing the younger generation of Chinese composers to a high professional level.

Musical Education in Kazan in 1917-1960: Periodization Problem

This article is devoted to justification of a periodization in music history education in Kazan and TACCP from revolutionary events of 1917 to foundation of high special music school at the Kazan State Conservatory in 1960. The research implements historical & genetic and historical & comparative methods. Justification of specifics of historical and cultural processes in the region during the declared period and about applicability of a three-part periodization, the bases for which will be cultures of the decision of the political and party management, external for the sphere, is presented. Characteristic of Kazan was the fact that till 1960 the musical school was the only educational institution in TASSR providing secondary vocational music education. Conclusions are drawn that formation of new system of musical education began at the beginning of the 20th century, and local features were considered fully. The policy for the non-Russian population pursued by the Soviet power promoted further development of music education. The conducted research also showed that in Kazan synthesis of capital cultural tradition and regional features was carried out. Materials of article can be of interest to researchers of the USSR during the specified period, experts in history and culture of the Volga region people and history of music education in Eastern Europe.

Music Education and/in Rural Social Space: Making Space for Musical Diversity Beyond the City

In this paper I argue that there are established vernacular music traditions in rural communities that can be productively integrated into a hybrid music education curriculum. I draw on my own informal education in folk music, which bore an ambivalent relationship to the kind of formal music education on offer in my youth. I argue that music education can and should draw on vernacular, hybrid, and improvisational rural musical traditions and practices. Such integration creates generative space for the entanglement of experience and schooling. Basil Bernstein called horizontal discourses reflecting everyday knowledge forms (little m music), and the vertical discourses that have dominated much secondary music education (big M music). This way of thinking about curriculum holds potential for building productive bridges and translations that respects living musical knowledge and invites authentic rural community engagement as well as complex understandings of music and rural social space.

Towards an Inclusive Secondary Music Education

Towards an Inclusive Secondary Music Education

The Occupational Identity of In-Service Secondary Music Educators

In order to explore the factors that inform the occupational identity development of in-service music educators and to compare the identities of in-service teachers with those of preservice music educators as examined in previous research, the purposes of this study were to examine the reported occupational identity of in-service secondary music educators and identify the interpersonal interactions and activities that help form occupational identity. A stratified random sample of secondary music teachers ( N = 300) completed a questionnaire based on previous research. Participants reported a majority of integrated (view of self and perceived view of others) professional roles, although participants believed themselves to be musicians more than they felt others believed them to be. Participants reported positive interactions with music students and other music educators and that directing ensembles and attending music conferences were the most positive experiences. Participants who reported positive relationships with other music educators and music students were likely to develop an educator identity. External musician identity was predicted by relationships with other teachers as well as with students outside of music. Participants with positive administration relationships were less likely to exhibit an internal musician identity. As teachers move from preservice to in-service, their musician identities may transform from being relatively integrated to becoming more differentiated.

The Short and Long-Term Career Plans of Secondary Music Educators: Characteristics of Stayers, Movers, and Leavers

Abstract The purposes of this study were to examine career paths and factors that may influence secondary music teacher career plans and identify the characteristics of "Stayers," "Movers," and "Leavers." The researcher sent a questionnaire to 1,000 secondary music educators teaching in the southwest National Association for Music Education division of whom 321 participated (N = 321). Short-term Stayers reported greater satisfaction with their professional environment, students, and psychological issues. Movers reported the greatest dissatisfaction with these issues. Movers taught more minority students as well as more special needs students. Leavers were less likely to have had a mentor and earned a lower college GPA. Long-term Stayers reported positive perceptions of their professional environment, greater satisfaction with students, and psychological issues. Movers reported lower satisfaction with community relationships. Long-term Leavers were older, did not participate in a mentor program, and came from a lower socioeconomic background. Implications are discussed.

Teachers' use of digital technology in secondary music education: illustrations of changing classrooms

The music industry in the 21st century uses digital technology in a wide range of applications including performance, composition and in recording and publishing. Much of this digital technology is freely available via downloads from the internet, as part of software included with computers when they are purchased and via applications that are available for some mobile phones. Such technology is transforming music and the way people approach many traditional music activities. This paper is about transformative practices that are underway in some secondary school music classrooms. Practices are being shaped by the culture of the schools and the students that they recruit. We describe the perceptions and practices of nine music teachers in four New Zealand secondary schools with regard to digital technology and how they are changing their work in their classroom. Data collection techniques include interviews, observation and a questionnaire. The data were subjected to two stages of thematic analysis. Grounded analysis was used to allow the teachers' voices emerge. This was then followed by the application of five themes identified in the literature on pedagogic change prompted by teachers' adoption of digital technologies.

Pop and world music in Dutch music education: two cases of authentic learning in music teacher education and secondary music education

Popular and world music play an important role in Dutch music education. This article examines two case studies that illustrate authentic music learning environments in which these types of music are prominently used. The first case follows a student during her training at the Rotterdam Academy for Music Education, in which her own musical and teaching experiences are crucial elements of her training. The second case focuses on a recently published music methodology in the Netherlands called Soundcheck. Following this methodology, pupils in secondary education are stimulated by playing in groups on real instruments, using pop and world music. Reflecting on their musical experiences helps them to learn more about music. These case studies illustrate in a practical sense the dynamics of authentic music learning in schools and in a music teacher education programme in the multicultural environment of Rotterdam.

Motivational Influences to Pursue Graduate Studies in Secondary Music Education

Motivational influences on the decision to pursue graduate studies in secondary music education were investigated. The population of secondary music education graduate students in one large Canadian university (N=13) completed a survey that included both open-ended and closed-ended response items. The greatest motivational influences to pursue graduate studies were found to be: (a) intellectual development, (b) personal development, and (c) professional development. The motivational influence Need to Refresh showed the most diversity and elicited the most prose response. Standard deviations indicated that on most items the response group was homogeneous. All results were consistent across gender and degree program, master’s or doctoral. In contrast to similar studies of educators in general, the influence of Potential Monetary Gain was not identified as important. Demographic information supplied by respondents indicated that the typical secondary music education graduate student in this university was 30 or more years of age and had five to 14 years of teaching experience. Results of this study cannot be generalized beyond the population from which the data were collected.

WESTERN CLASSICAL MUSIC AND GENERAL EDUCATION

Thinking about transforming music, I address issues relating to the role of musicians in higher education and Western classical music in general education. I am concerned about this music because it is marginalized in general education and the civic spaces of public life. Where once it held a privileged place, it seems now to have acquired (in some quarters at least) a negative connotation as a bastion of elitism and privilege. Instead, popular musics (with a nod to musics of other cultures) have pride of place in much elementary and secondary music education and in many university and college offerings designed for students whose principal fields of study lie outside music. An all-too-common musical illiteracy or, at best, elementary level of musical literacy and aurality renders Western classical music inaccessible to the general public just as the pervasiveness of popular music renders it inaudible and invisible. Bridges to past, less accessible, and esoteric traditions are also too few or in disrepair. Julian Johnson laments the diminished stature of Western classical music and argues for its values in today's world. 1

Political Influences on Curriculum Content and Musical Meaning: Hong Kong Secondary Music Education, 1949–1997

Political Influences on Curriculum Content and Musical Meaning: Hong Kong Secondary Music Education, 1949–1997

Hong Kong Secondary Music Education: political transition and civic education

ABSTRACT This paper analyses, from a historical perspective, the implementation of civic education in Hong Kong secondary music education in the 1980s and 1990s. It attempts to explore the struggles between political ideology and civic education in the Hong Kong music education system from a non‐musical perspective. The paper argues that the promotion of civic education in Hong Kong music education has been seen as a significant indicator for pursuing smooth social transitions. The singing of the national anthem of the People's Republic of China (PRC) is seen as a vehicle for cultivating political and civic values in school. Nevertheless, the findings of a questionnaire—survey on the perception of secondary music teachers show that the level of willingness with which they teach the PRC's anthem is not consistent with their comprehension of their national or communal commitment.

Gender in Secondary Music Education in British Columbia

This study is a replication of Dr Lucy Green's (1993) research using responses to an open-ended questionnaire to interpret music teachers' perceptions about boys' and girls' achievements in music classes compared to their results on the General Certificate of Secondary Education examinations (GCSE) in music. Using a revised questionnaire, the British Columbia study examined secondary music teachers' perceptions of gender issues and compared them with Grade 12 Examination results. The impact of gender beliefs was most evident in composition, where the provincial grades contradict teachers' perceptions of success and where the possible impact of technology on girls has not yet been acknowledged.

Explaining Curriculum Change: Social Studies in Hong Kong

Previous articleNext article No AccessFocus on Curriculum Change in China and Hong KongExplaining Curriculum Change: Social Studies in Hong KongPaul Morris, Gerry Mc Clelland, and Wong Ping ManPaul Morris Search for more articles by this author , Gerry Mc Clelland Search for more articles by this author , and Wong Ping Man Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Comparative Education Review Volume 41, Number 1Feb., 1997 Sponsored by the Comparative and International Education Society Article DOIhttps://doi.org/10.1086/447414 Views: 18Total views on this site Citations: 17Citations are reported from Crossref Copyright 1997 The Comparative and International Education SocietyPDF download Crossref reports the following articles citing this article:Shun Wing Ng, Koon Lin Wong Education for Justice-Oriented and Participatory Citizenship in a Politicized Era in Hong Kong, (Nov 2020): 867–885.https://doi.org/10.4018/978-1-7998-7706-6.ch050Liz Jackson, Timothy O'Leary Education and the Hong Kong umbrella movement, Educational Philosophy and Theory 51, no.22 (Dec 2016): 157–162.https://doi.org/10.1080/00131857.2016.1268523Dennis Fung, Tim Liang The legitimacy of curriculum development in post-colonial Hong Kong: insights from the case of Liberal Studies, Oxford Review of Education 44, no.22 (Nov 2017): 171–189.https://doi.org/10.1080/03054985.2017.1379382 Minsu Ha The History of the Korean Science Curriculum and the Introduction of the Present 2015 Science Curriculum, Journal of Research in Curriculum Instruction 21, no.33 (Jun 2017): 171–184.https://doi.org/10.24231/rici.2017.21.3.171Zafer Ibrahimoglu, Selda San Skills in Social Studies Curricula in Turkey: An Examination in the Context of Socio-Cultural Interaction, European Journal of Educational Research 6, no.22 (Apr 2017): 225–234.https://doi.org/10.12973/eu-jer.6.2.225Shun-Wing Ng, Gail Yuen Hong Kong: Social Justice and Education for Justice-Oriented Citizens in a Politicized Era, (Oct 2016): 411–433.https://doi.org/10.1057/978-1-137-51507-0_20Paul Morris, Edward Vickers Schooling, politics and the construction of identity in Hong Kong: the 2012 ‘Moral and National Education’ crisis in historical context, Comparative Education 51, no.33 (May 2015): 305–326.https://doi.org/10.1080/03050068.2015.1033169Christine Han, Jan Germen Janmaat, Tom May, Paul Morris Curriculum Patterns in Citizenship Education: A Cross-National Study, (Jan 2013): 116–138.https://doi.org/10.1057/9781137025692_6Lynn Foon Chi Yau The Arts in a Knowledge Economy: Creation of Other Knowledges, Journal of the Knowledge Economy 3, no.11 (Jul 2011): 68–87.https://doi.org/10.1007/s13132-011-0054-7Tom G. Griffiths, Lisa Knezevic Wallerstein’s world-systems analysis in comparative education: A case study, PROSPECTS 40, no.44 (Nov 2010): 447–463.https://doi.org/10.1007/s11125-010-9168-0Leung Yan‐wing, Ng Shun‐wing Back to Square One: The “Re‐depoliticizing’ of Civic Education in Hong Kong, Asia Pacific Journal of Education 24, no.11 (Mar 2004): 43–60.https://doi.org/10.1080/0218879040240105Wing-Wah Law, Wai-Chung Ho Values Education in Hong Kong School Music Education: A Sociological Critique, British Journal of Educational Studies 52, no.11 (Mar 2004): 65–82.https://doi.org/10.1111/j.1467-8527.2004.00255.xEdward Vickers, Flora Kan, Paul Morris Colonialism and the Politics of 'Chinese History' in Hong Kong's Schools, Oxford Review of Education 29, no.11 (Mar 2003): 95–111.https://doi.org/10.1080/03054980307432Paul Morris, Esther Morris Constructing the Good Citizen in Hong Kong: Values Promoted in the School Curriculum, Asia Pacific Journal of Education 20, no.11 (Jan 2000): 36–52.https://doi.org/10.1080/0218879000200104WAI CHUNG HO Hong Kong Secondary Music Education: political transition and civic education, Music Education Research 1, no.22 (Jul 2006): 171–190.https://doi.org/10.1080/1461380990010205Bing Wei, Gregory P. Thomas The Post-Mao Junior Secondary School Chemistry Curriculum in the People’s Republic of China: A Case Study in the Internationalization of Science Education, (): 487–507.https://doi.org/10.1007/978-1-4020-5908-7_26Shun Wing Ng, Koon Lin Wong Education for Justice-Oriented and Participatory Citizenship in a Politicized Era in Hong Kong, (): 133–151.https://doi.org/10.4018/978-1-5225-7110-0.ch006

Concepts of World Music and their Integration in Western Secondary Music Education

Concepts of World Music and their Integration in Western Secondary Music Education

Uniformity of Standards in Secondary Music Education

Uniformity of Standards in Secondary Music Education

Elementary Music Education as a Basis for Secondary and Higher Music Education

Elementary Music Education as a Basis for Secondary and Higher Music Education