Using the Victorian Curriculum and Standards Framework in music education

This research examined the usefulness of the Victorian Curriculum and Standards Framework as the basis for school music education in Victoria. Interviews with experienced primary and secondary teachers sought to determine the extent to which the Curriculum and Standards Framework had impacted upon their classroom teaching practice and contributed to an understanding of learning in music education.

Many layers of meaning : multicultural music education in Victoria, Australia

This paper explores music education viewed through lenses of cultural identity and the formation of personal identity in contemporary, multicultural Victoria, Australia. The people of this state come from more than 280 countries, speak more than 240 languages and follow more than 120 faiths. Our population diversity is constantly changing which challenges music educators to respond to classroom demographics and as tertiary educators we prepare our pre-service students to become culturally responsive teachers. As music educators, we occupy and are situated in multiple identities that shape the ways in which we experience and understand music and its transmission. As Australian tertiary music educators, we explore pre-service teacher cultural identity, attitudes and values about the inclusion of multicultural music in the classroom where cultural dialogue provides a platform for the construction of meaning. While marginalization and diversity occurs within multifaceted forms, we question: What music do we present in contemporary Victorian schools? Why do we make these choices? How do we present this music? This consideration, contextualized within the curricular framework, addresses issues of access, equity and community engagement. The making of meaning in shared cultural experiences contributes to the formation of identity which is a fluid and multilayered construct.

IT-assisted music composition education in Hong Kong primary schools

"Pedagogical framework for music composition with Information Technology" was devised to assist primary school music teachers to carry out composition activities through the application of IT. PFMCIT offers directions for developing in-depth teacher training programs, and establishing process-oriented curriculum guidelines to promote effective teaching and learning of music composition.

Transforming value perception in music information systems

Information systems are changing the way artists and consumers create, use and interact with music. Music experience has become richer and more sophisticated than simply buying and listening to music. New links between IS and music are forging unprecedented levels of creative e-collaboration, innovative music technology development, new music commerce and marketing methods, alongside with the emergence of e-music communities nurturing up-and-coming artists careers. Distinct from non-creative industries, the music industry is at the forefront of technological innovation where the ubiquitous adoption of music downloading, widespread use of personal music systems, and value chain disintermediation has shifted the focus of value delivery towards consumer control. This paper provides new insights into the effect of recent technological change on stakeholders within the music industry value chain, and of music information systems upon creative music products. The paper further explores the stakeholder perceptions of the value added or depleted from music by the technology, and examines the future expectations of information systems amidst the volatility and uncertainty of the music industry.

Music, in early childhood education : teachers' levels of confidence and happiness

This paper presents the results of a study which investigates early childhood teachers’ levels of confi dence
and happiness in conducting music activities with young children. A sample of 284 in-service and preservice
early childhood teachers in Hong Kong participated in the study. Two new research instruments
entitled Teachers Music Confi dence Scale (TMCS) and Teachers Happiness Scale (THS) were designed for
data collection to answer the research questions. Results showed that early childhood teachers have the
highest and the lowest level of confi dence in singing and composing/improvising respectively. In-service
teachers showed higher confi dence and happiness levels in conducting several musical activities with
young children than pre-service teachers. There was also a statistically signifi cant relationship between
these two variables. Implications for engagement in music are discussed in the paper.

Exposing young children to music through the production and presentation of music-appreciation television programs

This paper reports on a research study of the effectiveness of a series of music-appreciation activities for young children in Hong Kong. These activities were designed using world music and were presented as part of a local early childhood television program for community interest. One-undred-and-sixty-eight local preschool children (mean age 4.25) and their classroom teachers, from 16 childcare centres or kindergartens, participated in this study. Qualitative data was collected using individual structured interviews with both children and teachers. The data showed that these music-appreciation activities enriched children's musical experiences and teachers' musical repertoires in early childhood settings. Teachers also showed positive preferences to learn the activities using multimedia tools. Implications for the curriculum planning and teacher training of early childhood music education are discussed.

A Rasch analysis of the teachers music confidence scale

This article presents a new measure of teachers’ confidence to conduct musical activities with young children; Teachers Music Confidence Scale (TMCS). The TMCS was developed using a sample of 284 in-service and pre-service early childhood teachers in Hong Kong Special Administrative Region (HKSAR). The TMCS consisted of 10 musical activities. Teachers rated their confidence levels to conduct each activity on a scale from 1 (Not confident at all) to 5 (Very confident). An exploratory factor analysis retained a 10-item single factor that was replicated using confirmatory factor analysis procedures. All items of the TMCS fitted the Rasch model adequately. In-service teachers showed higher confidence levels to conduct several musical activities with young children than pre-service teachers. Implications of these findings for measuring teachers’ confidence to conduct musical activities with young children were discussed.