Music-education : an outline /

Contains music.

Public relations in music education, a study.

Mode of access: Internet.

Elementary music education;

Mode of access: Internet.

Bulletin - Council for Research in Music Education.

Includes reviews of dissertations.

Intersections: proceedings of the youth work and music education symposium

The ‘Intersections: Youth Work and Music Education’ Symposium took place on Friday, 27th June 2014 in University College Cork. This event, held in association with the Institute of Social Sciences in the 21st Century (ISS21), was made possible thanks to funding from UCC’s Strategic Research Fund. The principle aim of this seed funding is to generate new research interests and this presented the ideal opportunity for developing collaborative relationships between youth work and music education lecturers, researchers and practitioners across the island of Ireland. This led to the formation of a new ‘Intersections’ research cluster, comprising representatives from four third-level institutions, each of which offers both youth work and music education undergraduate and/or postgraduate programmes, namely: University College Cork; National University of Ireland, Maynooth; Dundalk Institute of Technology; and, University of Ulster. This document presents some preliminary findings from primary research conducted through each of the participating institutions in their local areas. Data was also collected during the symposium, through engaging in small group discussions populated by the event’s participants. The publication and dissemination of this document was included in the original Strategic Research Fund proposal. Its intended audience includes youth workers, music educators, community-based practitioners, policy-makers and academics who are motivated and enthused by the possibilities of music-oriented youth work in Ireland and beyond.

Surf and turf: music education riding the wave and/or planted firmly in teacher education arts courses across two Australian universities

Tertiary Arts educators are exhorted to offer The Australian Curriculum: The Arts (Dance, Drama, Media Arts, Music and Visual Arts) in their teacher education programs. This paper situates itself across two interstate universities (Deakin in Victoria and Griffith in Queensland) where both authors are music educators at these institutions. They discuss the two different ways that primary Arts education is offered at their universities by focusing on the Bachelor of Primary course (program/degree). The focus at Griffith University is on integrating the Arts whereas at Deakin University, the Arts are taught as a discipline within the unit (subject). Across both universities two teaching units for primary Arts education is core within the four-year program. Drawing on the author’s narrative reflection, observation, student questionnaire data, anecdotal feedback and student end of semester evaluations we discuss two different methods of delivery, assessment and challenges the units present to the authors and students. Though tertiary Arts educators are challenged to be inclusive of a rich and diverse arts curriculum as music educators we question whether the students are merely surfing the crest of the wave or being firmly planted in the ground to effectively implement music education in their future primary classrooms. We invite dialogue with other music educators who face similar situations where the delivery of music education is not located within the Arts and is dependent on staffing, resourcing and time limits and in some situations is almost drowning.

Craft, process and art : teaching and learning music composition in higher education

This paper explores models of teaching and learning music composition in higher education. It analyses the pedagogical approaches apparent in the literature on teaching and learning composition in schools and universities, and introduces a teaching model as: learning from the masters; mastery of techniques; exploring ideas; and developing voice. It then presents a learning model developed from a qualitative study into students’ experiences of learning composition at university as: craft, process and art. The relationship between the students’ experiences and the pedagogical model is examined. Finally, the implications for composition curricula in higher education are presented.

A Deweyan experience economy for higher education : The case of the Australian Indie 100 Music Event

In this essay we argue that a Deweyan experience economy will best support the higher education (HE) sector in the future, and we draw a contrast between that economy and the sector’s current focus on informational concerns, as expressed by the recent rush to Massive Open Online Courses (MOOCs) and other mass online informational offerings. We base our argument on current developments in music education and music technology that we see as being preemptive of wider trends. We use examples from a three-year study of online and offline music pedagogies and outline a four-year experiment in developing a pedagogical experience economy to illustrate a theoretical position informed by John Dewey’s theory of experience,Pierre Bourdieu’s theory of habitus and capital, and recent work in economic geography on epistemic communities. We argue further that the future of the HE sector is local rather than global, experiential rather than informational, and that therefore a continued informational approach to the future of HE risks undermining the sector.

An entrepreneurial music industry education in secondary schooling: The emerging professional learning model

There is widespread agreement that entrepreneurial skills are crucial for young people today, yet there are few studies of high school students engaging in entrepreneurship education that might prepare them for music industry careers. This study has been developed in response to these challenges. It explores a group of high school students (15 – 17 years) who alongside their teacher, have co-designed, developed and driven a new business venture, Youth Music Industries (YMI) since 2010. This venture staged cycles of differently scaled events featuring young artists for a young audience. The project was designed to give students a real business situation for developing their project management skills and a broader understanding of working in the music industry. Informed by concepts of social capital and communities of practice, the study examines the process of learning with and through others. This high-stakes environment increased their sense of presence and participation and made it possible for these young people to distribute expertise and learn from each other in a reciprocal and more democratic way. The ongoing success of this organisation can be attributed to the entrepreneurial competencies students developed. The resulting model and design principles talk to an ongoing challenge that has been identified in music education, and creative industries more generally. These principles offer a way forward for other music and creative industries educators or researchers interested in developing models of, and designs for, nurturing an entrepreneurial mindset.

Inspired by the past, driven by the passion: music in state-supported education in New South Wales and Victoria 1848-1920

This investigation considers the development of class music teaching in New South Wales and Victoria during the first seventy-two years of state-supported primary education. The first chapter describes the English background including music teaching methods (resulting from the mid-nineteenth century English choral singing movement) and the subsequent development of music teaching in English elementary schools. The promotion of school music is then considered on a broadly chronological basis in the two states and several themes are identified in relation to school music policy and practice. These include the status of music (core curriculum or extra-curricular subject), who should teach music (generalist or specialist teachers), what teaching methods and music notation should be used (staff or Tonic Sol-fa), musical training for generalist teachers, and curriculum content in relation to the aims and objectives of school music. Comparisons are made between developments in both states and between both states and English school music. The final chapter demonstrates the relevance of many of the historical themes identified for music education today. The thesis concludes by identifying a recurring problem from the past. namely the lack of co-ordination between various aspects of school music policy, as the most serious problem to be overcome in the future.