1857 research outputs found
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The MaPS project: mapping teacher conceptions of musical development
No full textIn some schools, classroom music is taught by an individual held to have elite and 'appropriate' skills in music, a 'specialist'. Some schools acquire visiting musicians from Local Education Authority (LEA) services. These teachers provide classroom lessons or Wider Opportunities projects. 'Music specialist' implies a teacher with traditional expertise who may be expected to teach music to all or most of the children. Perceived self-competence in music teaching may well influence the manner in which musical ability is framed by teachers. The project was entitled Musical ability in the Primary School (MaPS). It was an exploratory one, designed to uncover themes that would serve as a platform on which to build an evidence base and to prepare the way for further investigation. The participants were generalists, required to teach music in schools in Southern England. Every 'partner' school of the Institute of Education, University of Reading was invited to participate
We three kings of Orient are [Hopkins arr. Hesketh]
No full textArrangement by Kenneth Hesketh for children's voices, optional SATB choir, and piano, duration 4.5 minutes.
This work was commissioned by Making Music and funded by the Carnegie UK Trust. It forms part of Carols for Everyone - a collection of Christmas songs written specifically for both adults' and children’s voices.
The recorded excerpt below is by the Novello Choir, conducted by David Hill with pianist Philip Scriven.
For further information on Carols for Everyone see https://www.makingmusic.org.uk/get-involved/projects/carols-for-everyone
BBC Radio 3 record review: building a library: Stravinsky: The Firebird Suite
No full textWilliam Mival reviews recordings of Stravinsky's The Firebird Suite in this programme broadcast on 2 March 2013. This discussion is also available (UK only) on the Record Review Podcast, see https://www.bbc.co.uk/programmes/p02tmqyn
Proceedings of the 6th conference of the European Network of Music Educators and Researchers of Young Children
No full textWe proudly present the Proceedings for the 6th Conference of the European Network for Music Educators and Researchers of Young Children (EuNet MERYC). The MERYC network aims to create a platform where both researchers and practitioners can meet, share expertise & experiences, enthusiasm and insights on music education for young children. These proceedings show the diversity of European early childhood music research and practice. A diversity with regard to heritage of methods and approaches, philosophies and theoretical ideas, but also languages and cultures that form the basis that inspires enthusiastic music educators and driven researchers to take new initiatives. *** This proceedings book is available open access at the 'Official URL' link given below. **
Book review: 'Music and the mind: essays in honour of John Sloboda' ed. Irène Deliège and Jane Davidson
No full textMinding the gap: review of 'Music and Soviet power 1917–1932' by Marina Frolova-Walker, Jonathan Walker
No full textRed strains: music and communism outside the communist bloc
No full textWith the establishment of the People's Republic of China in 1949, a third of the world's population came to live under communist regimes. Over the next forty years, the lives of most people in the non-communist world were also shaped in some way by communism and the Cold War waged against it. In the cases of many artists, intellectuals, and workers, this involvement was wished and active. Yet while the left-leaning tendencies of western artists have long been recognized, the extent and depth of musicians' involvement in communism specifically has been largely ignored, suppressed, or dismissed as youthful infatuation. This book offers a representative overview of the relation of music and communism outside the communist bloc. Ranging across multiple musical genres, five continents, and seven decades, the nineteen chapters address both prominent musicians who aligned themselves with communism, and the investments in music of a range of communist and radical Marxist organizations (including national Communist Parties, the Black Panther Party, and Maoist and Trotskyist groups in Britain, Germany, and Nepal). In the book's first section, five musicians (Giacomo Manzoni, Ernie Lieberman, Konrad Boehmer, Chris Cutler, and Georgina Born) offer their own, more personal perspectives upon their engagement with communism. The volume as a whole highlights two ‘red strains’ in particular: the irreducible differences of opinion between communists regarding key debates concerning music's role in society; and the multiple challenges faced by every engaged musician in reconciling political and artistic agendas
School and conservatoire music teachers’ ‘vocational habitus’: lessons for music teacher education
No full textThis chapter explores music teachers’ professional knowledge as a form of embodied know-how specific to, and constructed within, particular workplace contexts. Beginning with an argument for thinking of professional knowledge as socially constructed know-how, we evoke a sociological frame of reference that includes the cultural practices of teachers’ workplaces, their vocational cultures, and their active and negotiated identities. Following Britzman (2003), we argue that teaching is about coming to terms with particular orientations towards knowledge, power and identity. We know, for example, that instrumental teachers construct their identities and teaching practices in response to the dominant values of their workplace (Triantafyllaki 2010a). In this process, certain definitions of know-how are adopted by teachers and subsequently enacted, re-constructed and developed. In the first part of the chapter, we examine the nature of this socially constructed know-how and the ways in which teachers take it up and negotiate it in accordance with their biographies, circumstances and workplace cultures
Communisms, communist musics
No full textThis chapter sketches key contexts (both global-political and scholarly) for the research presented by this book. By way of introduction to the individual chapters in the book, a number of connecting preoccupations are identified: debates over artistic experiment and populism, and over the handling of cultural difference; the diverse motivations for communist organisations to become involved in music, and their anxieties about such an involvement; attempts made to evade the grasp of political and economic structures (state and commerce especially) that communists typically opposed; and experimentation in alternative forms of musical practice that were imagined better to reflect communist ideology. The irreducible plurality of positions staked out by communist musicians and groups is emphasised
Hierarchies and learning in the conservatoire: exploring what students learn through the lens of Bourdieu
No full textThis article explores the intersection between institutional hierarchies and learning at a UK conservatoire. Conceptualizing learning as a social practice situated in a hierarchical social space, the article draws on the theorization of Bourdieu to understand how students are positioned in the conservatoire field and what this means in terms of their learning. Working within a social constructionist framework, the study adopted qualitative research with two case students, making use of a trilogy of methods: semi-structured interviews, participant self-documentation and participant-verification interviews. Findings reveal that as students participate in the conservatoire field they appear to learn their position in the conservatoire’s hierarchies, and that their position relates to what and how they learn. The conservatoire’s hierarchical organization can thus be considered an important factor in shaping student learning, illuminating the need for further research to explore how learning experiences and opportunities can be maximized for all conservatoire students