1,721,032 research outputs found
Teaching and assessing composing in English secondary schools: an investigation into music teacher confidence
No full textComposing has been an important and statutory part of English classroom music education for over 30 years. The landmark introduction of composing into the National Curriculum ensured all young people experienced composing until the age of 14. Although the advancement was viewed positively, classroom composing was not always met with enthusiasm with many music teachers feeling they lacked necessary skills, confidence, and composing experience to be able to teach it. After the age of 14, students can opt to study music to gain qualifications such as a General Certificate of Secondary Education (GCSE), or A level. Composing is a significant and assessed part of these qualifications alongside listening and performing examinations. Given that composing has become a regular part of classroom music teaching, there is still very little research into composing teaching and learning. This chapter will explore secondary classroom music teachers’ experiences of, and confidence in, teaching and assessing composing, with key debates based upon the findings of an exploratory study involving case study and survey research methods. The chapter proposes that music teachers are less concerned about their own lack of composing experience, ergo their ability to teach composing, but instead have low confidence due to current assessment procedures that they deeming as being unpredictable, unreliable, subjective, and potentially biased toward western classical musical norms
Chapter interlude I: what is composing?
No full textThis interlude looks at the many aspects and questions that arise when defining “composing” in music education. It also uncovers hidden influences in historical and cultural baggage coming from the central discourses and definitions of composing in Western music history. Finally, it shows how the meaning of the word “composing” has undergone change around the world – from being viewed as an elitist act to something that is more inclusive and can be undertaken by all young people
Chapter interlude V: considering gender, equality, diversity, and inclusion in teaching composing
No full textWomen composers as well as composers of color are marginalized in the Western classical canon, which dominates concert programs as well as school music books. The interlude describes existing inequalities. Further, it shows how these inequalities were reproduced, e.g., showing how students get access to composing experience, to possibilities to expand it, and to its preconditions like expensive instrumental lessons. Further, it shows ways to change the state of the art. The importance of diverse role models in the music classroom is discussed as well as the reflection of own practices of doing difference to change the narrative
NEUROENDOCRINE NEOPLASM OF THE LARYNX: ADVANCES IN IDENTIFICATION, UNDERSTANDING, AND MANAGEMENT
No full textChapter interlude VII: the role of digital technology in classroom composing
No full textAdvances in digital music technology continue to transform how we engage with music and how it is taught. This interlude explores how the use of technology changes how we create new music. It describes the inclusive potential and benefits of using technology in the music classroom, as well as how technology challenges traditional norms and beliefs around musical learning. The dangers and challenges of using technology to compose are investigated along with how the COVID-19 pandemic has accelerated its use, and inequality is highlighted as well
Introduction
No full textThis introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book highlights the diversity by which composing as a musical activity does, or conversely does not, have a part within a country's national curricula and other mandated or legislated formats. It discusses partnership projects where external composers have worked alongside classroom music teachers. The book highlights important resources commonly used within the music teaching profession of that country. It addresses relevant characteristics of music composing through the lens of their respective socio-cultural contexts highlighting the diversity of teaching methods and practices. A hierarchical view can take hold that some music is more valuable, more important, and more worthy of a place in an already crowded school curriculum. Part of the role of educators may also be to introduce students to new music and encourage students to explore a diverse range of genres with open ears
Chapter interlude IV: ways to teach composing
No full textComposing teaching in schools can look and sound very different depending on various circumstances, such as the age, ability, and interests of the students, the tradition of composing in a country's music education system and their curriculum, as well as the musical background, confidence, and experiences of the teacher, not including the infrastructure, technology, and resources available to the teacher in the classroom. Also relevant is the question of who is teaching composing, as a professional composer coming into a school and conducting a time-limited composing project might teach very differently from a generalist classroom teacher. This interlude will take a closer look at the variety of approaches, methods, and practices used to teach composition in music education and how diverse pedagogies have been developed over time
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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