Kivy on justifying music in liberal education

Within analytical aesthetic circles, Peter Kivy is best known for re-igniting the debate inaugurated by Eduard Hanslick over the issue of whether or not music of the purely instrumental or absolute kind can be said to express a content, and, if so, whether or not listeners' emotional responses to it bear any relation to that content. Kivy's particular contribution countenances the possibility of interpreting the appearance of a musical work as expressive - be it the percussive Allegro barbara [1911] by Bela Bartok or the lyrical Adagio for Strings {1936] by Samuel Barber - without having to presume that music itself, being non-sentient by nature, possesses any emotional, subjective state.  This short essay, however, will critically examine a rather neglected facet of Kivy's prolific writings. In a relatively recent attempt to justify the place of purely instrumental music in liberal education without drawing upon the above-mentioned notion of expressiveness, Kivy reconceptualizes the matter in a manner that significantly shifts us from the dominant epistemological arena of debate. No longer are we to dispute the place of music within the terms set by the highly influential forms-of-knowledge approach revived by P.H. Hirst a generation ago and currently under revision by Jim McKenzie in terms of forms of argumentative discourse. But before first surveying and then critically assessing Kivy's proposal, perhaps we should briefly remind ourselves of the contrasting frame of reference associated with Hirst.

Sharing and speaking about African music : professional development with Swaziland primary school teachers

The teaching and learning of Indigenous African music is characterised as a holistic integrated experience where music, dance and theatre are inseparable, seen as an integral part of culture. The transmission of this experience is absorbed through participation in cultural activities from childhood in the community. In African societies, both traditional and contemporary, musical arts education and the understanding of culture are fundamental to life, community and society. It is through musical arts, that Africans embrace spiritual, emotional, material and intellectual aspects and knowledge of both the individual and the community. This paper reports on an in-service program (August 2006) offered at the Centre for Indigenous African Instrumental Music and Dance Practices (CIIMDA), Pretoria, South Africa. For the purpose of this paper, the one week professional development course undertaken by generalist primary school teachers from Swaziland is highlighted and proves worthy for these teachers to implement what they learnt in the classroom. As a position paper, I contend that the understanding and participation in indigenous cultural musical arts practices, enlightens learners about their cultural heritage and further enriches their understanding of African music and dance that can be adopted, adapted and applied to primary schools in Swaziland. This paper summaries some key findings of interview data from ten participants in relation to the intensive program. By offering such in-service professional development programs, teachers are able to reach their wider communities where they will continue to share and speak about African music, dance and culture.

Musical arts education in Africa : differentiation, integration and disassociation

By discussing the future challenges to musical arts education in Africa in which local cultural practices are valued, the differences of those historically marginalised by virtue of gender, race, ethnicity, and class, are celebrated. In Africa, musical arts education and culture are regarded as an integral part of our life, which not only embraces the spiritual, material and intellectual aspects of our society, but also contributes greatly toward our emotional development. This affirms the integrity and importance of various forms of 'Art' including literature, technology, design, dance, drama, music, visual art, media and communication.

This paper will discuss the future of African musical arts education programmes through the dynamic cycle of differentiation, integration and disassociation. The authors will consider the concept of ‘differentiation’, ‘integration’ and ‘disassociation’ within musical arts practice. An analysis of selected international arts education programmes provides a globally differentiated perspective through a discipline-based approach. In the African context, arts education programmes are located within an integrated approach. The structure of a Music Action Research Team (MAT cell) in Southern African Developing Community (SADC) countries will be highlighted as a means to address disassociation through the active engagement of professional development programmes offered by the Centre for Indigenous African Instrumental Music and Dance (CIIMDA).

Towards an integration of theories of achievement motivation

This thesis investigated children's school achievement in terms of an integration of three theories of achievement motivation. The three theoretical outlooks were expectancy-value theory (EVT), implicit theories of intelligence (ITI), and flow theory (FT). The first of two studies was an exploratory investigation of the effectiveness of each theory independently and combined to predict children's achievement in four school subjects. The subject areas were maths, reading, instrumental music and sport. Participants were 84 children (40 females and 44 males) aged 9 to 10 years, one of each child's parents, and school teachers of each child in the four subject areas. All data were collected through questionnaires based on the three models. The results indicated that EVT and FT but not ITI accounted for a significant amount of the variance in children's achievement, including effects for subject area and gender. A second confirmatory study tested EVT, FT and an integrated model for the prediction of achievement in maths, reading and instrumental music. The participants were a further 141 children (74 females and 67 males) aged 10 to 11 years, and a parent and teachers of each child. Data collection using questionnaires occurred early in the school year (Timel) and approximately five months later (Time2). For EVT, children and parents’ competence beliefs were significant predictors of children's achievement in each subject area. Females tended to believe themselves more competent at reading and instrumental music and also valued these subjects more highly than boys. Modeling results for flow theory indicated that children's emotional responses to classes (happiness and confusion) were significant predictors of achievement, the type of emotion varying between subject areas and time periods. Females generally had a more positive emotional reaction to reading and instrumental music classes than males did. The integrated model results indicated significant relationships between EVT and flow theories for each subject area, with EVT explaining most achievement variance in the integrated model. Children's and parents’ competence beliefs were the main predictors of achievement at Timel and 2, Subject area and gender differences were found which provide direction for future research. Anecdotal reports of parents and teachers often attest to individual differences in children's involvement in various school domains. Even among children of apparently similar intelligence, it is not uncommon to find one who likes nothing better than to work on a mathematics problem while another much prefers to read a novel or play a musical instrument Some children appear to achieve good results for most of the activities in which they are engaged while others achieve in a less consistent manner, sometimes particularly excelling in one activity. Some children respond to failure experiences with a determination to improve their performance in the future while others react with resignation and acceptance of their low ability. Some children appear to become totally absorbed in the activity of playing sport while others cannot wait for the game to end. The primary research objective guiding the current thesis is how children's thoughts and feelings about school subjects differ and are related to their school achievement. A perusal of the achievement motivation literature indicates several possible models and concepts that can be applied to explain individual differences in children's school achievement. Concepts such as academic self-concept, multiple intelligences, intrinsic and extrinsic motivation, self-beliefs, competence beliefs, subjective task values, mastery and performance goals, ‘Flow’ experiences and social motivation are just some of the constructs used to explain children's achievement motivation, both within and between various activity domains. These constructs are proposed by researchers from different theoretical perspectives to achievement motivation. Although there is much literature relevant to each perspective, there is little research indicating how the various perspectives may relate to each other. The current thesis will begin by reviewing three currently popular theoretical orientations cited in achievement motivation research: subjective beliefs and values; implicit theories of intelligence, and flow experience and family complexity. Following this review, a framework will be proposed for testing the determinants of children's school achievement, both within each of the three theoretical perspectives and also in combination.

Songs for community

Songs for community 2 is a series of piano and instrumental music recorded at Deakin University in 2012.

Cross cultural engagement: teaching African music to Australian students

This paper reports on research that examined the effectiveness of introducing rhythmic concepts through an unfamiliar musical genre to Australian generalist prim my teacher education students. The genre selected was African music, in particular action songs, dance and instrumental improvisation. The methodologies of Orff, Kodaly and Dalcroze were taught through the repertoire of African music in order to foster a closer relationship between pedagogical theory and practice and to teach rhythm through cross-cultural engagement. Through analyses of questionnaire and interview data, it was demonstrated that African music had a positive effect on students' conjidence as non-specialists music teachers and enhanced their skills in staff, sol-fa, hand notation and performance. Also students were not only highly motivated to engage with this new musical genre, but also gained an increased understanding of African culture. It is argued that African music was perceived by students not so much as a "novelty", but as a source of genuine motivation, interest and enjoyment. Its potential for extending student understanding of rhythm as well as taking a significant step towards internationalizing the curriculum for a cohort of predominantly Anglo-Celtic, pre-service teachers is also explored.

Ambient music with orchestral percussion (I dream of Jean-Michele)

I Dream of Jean-Michele is a non-lyrical instrumental piece that harks back to the 1980s ambient scene. A good piece for digital projects that are ambient, or require the space in synthesizer styled music from the 1980s.

(Electronic music) beginnings (full length)

This is an optimistic, full length pop instrumental featuring piano, dub-step styled drums, synth bass, muted trumpet, Hollywood styled strings and vibraphone. The break is touched with the melancholy.

(Electronic music) homesick (elegant and energetic)

This is a bright composition featuring a sweet vibraphone arpeggio accompanied by, piano, bass, synth strings (including an early 1970s modelled synth), percussion and FX.

(Electronic music) through the past (moody)

(Short 02) An eighties styled ambient piece that uses synth strings modelled on the late seventies-early eighties synths. Evoking the aural objects of that era. Instruments used in this composition are synths only.

(Positive electronic music) mighty boom (full length)

An uplifting, energetic dance styled composition with dirty synth, booming drums, piano and arpeggios.

All change COUNTRY MUSIC loop

All Change Loop is a country & western instrumental featuring rhythm guitar, lead banjo, rhythm banjo, fiddle and upright bass with a wooden barn echo.

Ambient music (in the elevator)

In the Elevator is a warped take on ambient elevator music and a good piece of audio for a digital project where elevators or boredom are needed.

Arp instrumental

Arp Instrumental features synth, drums, bass and guitar.

Baltic winter (beautiful ethereal sweeping music with haunting female vocals)

Baltic Winter - a Slavic mermaid rests upon a rock on the edge of the Baltic Sea. It is night time during the depths of winter. She risks not being able to return to the sea as it could freeze in the time that she drapes the snow crested pine trees with her ethereal calls. Her voice travels through the Medieval forest in search of her nymph . . . will he hear her? Or will her calls only serve to sing her loneliness?

OK . . . now for the technical . . . I wrote this with a documentary in mind. I have used a sampled Finnish/Estonian Kantele, a touch of an acoustic guitar, female vocals, percussion, and a couple of synths.