Traffic safety education and health promoting school : a metropolitan and rural pilot study

Traffic Safety Education (TSE) is an important part of a school's program; however, it competes with many other components of schooling such as literacy, numeracy and a number of health areas. Hence TSE provision in Victorian schools has been somewhat fragmented and haphazard in its delivery. This small pilot study involved two metropolitan and two rural schools which attempted to link TSE into mainstream school activities through the new Victorian Essential Learning Standards (VELS) utilising the internationally accepted Health Promoting Schools (HPS) framework.
The findings of the pilot study showed that though schools face many demands, understanding and ownership of TSE is possible when administrative support, professional development and adequate planning time are made available. The report outlines several key recommendations to improve the delivery of Traffic Safety Education in Victorian schools.

Educators' attitudes to philosophies of music education

This study used Q methodology to measure the extent to which individuals with five educational roles (student teacher, elementary music teacher, principal, high school music teacher, and music consultant) held five proposed philosophies of music education (hedonic, utilitarian, aesthetic cognitivism, aesthetic formalist, and praxial). Twenty-seven sUbjects participated in the Q study. These subjects were a convenience sample based on their educational role, accessibility, and willingness to participate. Participants completed a background sheet which indicated their background in music, and their responsibility for teaching music. The sUbjects in this Q study rank-ordered a set of 60 Q sort items (each item representing a proposed philosophical position) twice: Sort P to reflect current practice, and Sort I to reflect the ideal situation. The results of the sorting procedures were recorded by the participant on the response page which organized the rankings according to an approximated normal distribution as required by Q methodology. The analysis of the data suggested that the comparison across philosophical positions was significant and that the results of the interaction between philosophical position and educational role were significant, although educational role alone was not significant. Post-hoc analysis of the data was used to determine the significant differences between the levels of the, independent variables used in the model: philosophical position, educational role, and music background. A model of the association of the five philosophical positions was presented and discussed in relation to the Q study results. Further research could refine the Q sort items to better reflect each philosophical position.

Celebrating the use of African music : change in motion

I undertook a research project regarding the use of African music at both primary and secondary school level with Victorian teachers in Melbourne in 2004. This study grew out of my first project, which examined the effectiveness of using African music with non-specialist primary teacher education students at Deakin University, Melbourne (see Joseph, 2002, 2003). In this paper the concept of 'change' in relation to teaching and learning is explored regarding practising teachers’ teaching and learning of African music in Australian schools. According to Campbell (2004), a guiding principle for shaping educational experiences designed to promote students’ musical and cultural understanding is for teachers to make music both meaningful and useful in their lives. She further contends that such an experience can 'come alive' for students if teachers promote active involvement for them as music listeners as well as makers of music. This paper discusses some of the findings in relation to why and how teachers are engaging with African music and what their students are learning from it. It may be argued that both students (Deakin University student project) and teachers (Victorian music project) perceived African music to be an effective way to transmit and engage with a 'new music and culture'.

Perceptions of multiculturalism in music education: what matters and why

Pre-service teacher education students from two Australian universities were interviewed about their understandings of cultural diversity in music education. These initial findings revealed varied but generally consistent enthusiasm about including music from different cultures in teaching. However comments revealed an almost haphazard exposure to other musics. These were generally informal rather than learned in their formal education. Interviewees recognised the training that they had received in their tertiary studies in other cultures (both Western and non-Western) and expressed the intention to pursue professional development in their future careers. Engaging with the music of other cultures allows teachers and students to develop understanding and empathy with others. This is in line with current governmental initiatives on values that states that values education is intended to 'inspire and educate the next generation to see their world through the eyes of others. We want children to become adults who are caring, tolerant, fair and compassionate' (Department of Education, Science and Training, n.d., p. 2). Comments from the interviewees illustrate just such attitudes and understandings. It behoves us as educators to prepare students for teaching in multicultural classrooms that reflect the wider Australian society.

Music in state-supported schooling in South Australia to 1920

This thesis is a study of the establishment of the music curriculum in state-supported schools in South Australia from the beginnings of such schooling until 1920. There will be a discussion of issues to be explored and the method by which this investigation will proceed. A literature survey of relevant research will be included, after which there will be a sketch of the development of state-supported schooling in South Australia. Several broad themes have been chosen as the means of organising the historical material: the rationales offered for the inclusion of music in schooling, the methodologies, syllabi and materials of such music instruction, the provisions for teacher training in music, both preservice and as professional development for established teachers, and the place and function of music in schooling. Each of these themes will form the framework for a chronological narrative. Comparisons will be made with three neighbouring colonies/States concerning each of these themes and conclusions will be drawn. Finally, overall conclusions will be made concerning the initial contentions raised in this chapter in the light of the data presented. Although this study is principally concerned with the establishment of music in state-supported schooling, there will be a brief consideration of the colony of South Australia from its proclamation in 1836. The music pedagogical context that prevailed at that time will be discussed and this will, of necessity, include developments that occurred before 1836. The period under consideration will close in 1920, by which time the music curriculum for South Australia was established, and the second of the influential figures in music education was at his zenith. At this time there was a new school curriculum in place which remained essentially unchanged for several decades. As well as the broad themes identified, this thesis will investigate several contentions as it attempts to chronicle and interpret the establishment and development of music in state-supported schooling in South Australia up to 1920. The first contention of this thesis is that music in state-supported schooling, once established, did not change significantly from its inception throughout the period under consideration. In seeking a discussion of the existence and importance of the notion of an absence of change or stasis, the theory of punctuated equilibria, which identifies stasis as the norm in the evolutionary growth of species, will be employed as an insightful analogy. It should be recognised that stasis exists, should be expected and may well be the prevailing norm. The second contention of this thesis is that advocates were and continue to be crucial to the establishment and continued existence of music in state-supported schooling. For change to occur there must be pressure through such agencies as motivated individuals holding positions of authority, and thus able to influence the educational system and its provisions. The pedagogical method introduced into an educational system is often that espoused by the acknowledged advocate. During the period under consideration there were two significant advocates for music in state-supported schools. The third contention of this thesis is that music was used in South Australia, as in the other colonies/States, as an agent of social reform, through the selection of repertoire and the way in which music was employed in state-supported schooling. Music was considered inherently uplifting. During the nineteenth and early twentieth centuries, the music selected for school singing carried texts with messages deemed significant by those who controlled the education system. The repertoire was not that of the receiving class but came from a middle class tradition of fully notated art music in which correct performance and notational reading were emphasised. A sweet, pure vocal tone was desired, as strident, harsh, speaking tones were perceived as a symptom of incipient larrikinism which was not desired in schooling. Music was seen as a contributor to good order and discipline in schooling.

Enhancing music composition opportunities through techology in upper primary classrooms

The research contributes original knowledge about an e-learning model for music education delivery in schools. An innovative project called 'Compose' which combines a range of developments and resources based on computer technology with specific initiatives to addess the identified barriers to composition was designed. This model offers a potentially viable way to make the expertise of music specialists available online in primary classrooms where such expertise would not normally otherwise be available.

Queensland's music outcomes: building pedagogical bridges

This paper discusses the challenges surrounding the implementation of the Music strand of the new syllabus for secondary teachers within the context of emerging trends in pedagogical reform in Queensland, and identifies several areas where research is needed to inform classroom music teaching practice and to guide teacher training programs. Secondary music teachers (Years 8-10) have not had the same systemic, school-based curriculum guidance that was given to teachers in years 1-7. This has resulted in a plethora of teaching and learning practices in lower secondary classrooms, many of which may be more experiential than developmental in approach and which may have little reference to the types of music programs common in primary classrooms.

La Veu de l'alumnat en pràctiques i dels recents egressats com a font d'informació privilegiada en la reformulació dels plans d'estudis en mestre en educació musical

Dins del procés d’avaluació i optimització del plans d’estudi d’Educació musical per afrontar amb èxit les exigències del nou Espai Europeu d’Educació Superior, des del Departament de Didàctica de l’Expressió Musical i Corporal de la Facultat de Formació del Professorat de la UB hem realitzat, aquest darrers dos anys, dues investigacions consecutives i complementàries destinades a recollir la informació més valuosa des de la pròpia veu dels estudiants de l’ensenyament. En un primer moment, el Grup de Recerca en Educació Musical i Innovació (GREMI), va portar a terme un estudi basat en l’opinió dels alumnes en pràctiques a les escoles (durant el darrer semestre d’estudis), i en l’opinió dels mestres especialistes tutors de les escoles que els acollien. L’anàlisi i la valoració de la informació recollida d’aquestes dues fons va permetre detectar els punts forts i febles de la seva formació inicial. En un segon moment, (en l’actualitat), es realitza un segon estudi amb la mostra corresponent a l’alumnat egressat en educació musical de la UB dels darrers tres anys. La intenció final és la de triangular els resultats obtinguts des de les diverses fonts en els dos estudis realitzats i utilitzar aquestes opinions en discussions i reflexions per conèixer les necessitats actuals tant en l’ensenyament de la música a l’etapa d’educació primària, com en les necessitats de formació dels futurs mestres que impartiran l’esmentada matèria artística a l’escola. Aquesta comunicació posarà l’èmfasi no tant en les conclusions dels dos treballs de recerca realitzats (interessants, bàsicament, pel propi ensenyament), sinó en el propi procés investigador tant quant el que representa que la mostra estigui formada per alumnes i ex-alumnes, com les tècniques de recollida d’informació elaborades i emprades en els estudis (i adaptables a qualsevol altre ensenyament)

Experiencing change: an inside view from the outside

As a South African of Indian descent I bring to education in Victoria an intimate knowledge of 'change in progress' and seek to use that for the benefit of my disciplines as a practitioner and teacher, primarily of music at primary, secondary and tertiary levels. In this article, I discuss some of the gains made by Australian teachers through using African music in their settings, and also describe what some of their teaching and learning needs are. This article arises from two research projects that I undertook: with students at Deakin University (2002-2003) and with music teachers who are currently teaching African music in Melbourne, Australia (2004). The student project investigated the potential for using African music to enhance the generic musical experiences, learning, motivation, interest, confidence and competence of non-specialist primary pre-service teachers. The teacher project explored why teachers are embracing change through the use of African music, what type of African music is taught and how it is being taught. In a world that is in a state of almost constant flux, teachers face the challenge to maintain the relevance of the curriculum and to promote openness to the cultural diversity represented in our contemporary Australian society. Both groups report highly positive changes.

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.

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).

Cultural understanding: rethinking music teacher education in a multicultural Australia

This paper provides a multicultural perspective to music education in Australia and makes recommendations for the creation of more suitable intercultural training programs in Australian universities. It explores issues of multiculturalism in higher education institutions and argues that music education is a useful platform to address and rethink cultural diversity, where difference can be celebrated. Within Australian multicultural society, the rights and traditions of all people are recognized, respected and included. In this process, higher education institutions are challenged to prepare student teachers to meet the needs of society. This involves cultural understanding and the creation of multicultural curricula. From reflecting on current music education programs offered at Deakin University, Melbourne, it is argued that there is need to rethink current approaches to music education pedagogy. Although there are attempts to have an all inclusive approach in teacher training, the music curriculum is still trapped in the potpourri effect of trying to create culturally responsive teachers for every permutation of the multicultural classroom. When Australian society, ideally approaches true styles of multicultural music, teachers and students will celebrate the rich diversity of this nation.