1,721,012 research outputs found
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Aspects of Teaching Secondary Music: Perspectives on Practice
No full textAspects of Teaching Secondary Musicprovides a practical illustration of the skills, knowledge and understanding required to teach music in the secondary classroom. Musical concepts and ideas are discussed and a critical examination of key issues is given. This encourages the reader to engage with these thoughts and consider their views and beliefs in terms of how they will influence their potential to teach music in an inspired and effective manner. Gary Spruce draws on his long experience as a practitioner for the good of this book, with can be used along side the reader:Teaching Music in the Secondary Schoolto form a comprehensive resource for those studying for the PGCE. These combinations of practical and theoretical books are available in a range of subjects to accommodate all on the course
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The Music department
No full textWhat are the characteristics of an effective department? What is the role of individual departments within schools? What is the relationship between departments and the management of the school? The observant reader will notice that, in posing these questions, I have not referred specifically to the music department. This is not a sin of omission, but rather a way of pointing out that many of the issues and attitudes that impact upon a music department are those that affect all departments irrespective of subject. Common issues simply acquire specific subject focus
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Listening and appraising and the ideology of aesthetic listening
No full textIn this chapter we explore the assumptions and beliefs that underpin aesthetic listening. We then go on to explore the impact of aesthetic listening on music teaching and learning through analysing three hypothical examples of the way in which listening and appraising are taught in the music classroom. Following this, issues associated with the personal construction of musical meaning and appraisal responses other than verbal and written ones are considered. Finally, we suggest ways in which listening and appraising can be taught through integration with composing and performing activities
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Culture, society and musical learning
No full textIn the limited space I have here, I focus on the way in which long-standing beliefs and assumptions about music influence the way in which music is taught. I address the ways in which such assumptions have come to be seen as self-evident and suggest strategies for addressing some of the negative impact this has on music teaching and learning
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Musical knowledge, critical consciousness and critical thinking
No full textThe concept of critical thinking is understood in a number of ways. In some definitions it is close to the idea of metacognition - ‘thinking about thinking’ - whilst in others it describes a process of ‘logical thinking’ involving the gathering, assimilation and analysis of evidence from which emerges a ‘reasoned’ conclusion. In his book Democracy and Music Education (2005) Paul Woodford suggests that although critical thinking is supposed to ‘develop independence of mind’ it is almost always equated in curriculum documents ‘with the application and development of abstract thinking skills and abilities divorced from social, moral, ethical or political considerations’ and that ‘Few music teachers realize that this separation of mind and matter is a perversion of what Dewey, one of the fathers of the contemporary critical thinking movement, intended’ (Woodford 2005: 95).
In this chapter I will explore critical thinking as part of the framework of critical (social) theory and examine how, as I have written elsewhere, ‘properly embedded, critical thinking and understanding enables pupils to make connections between their musical learning in school and their lived reality, and thus empower them as learners’(Spruce 2009: 36). Critical thinking is here conceptualized as a key element in the development of a more socially just society in which all are enabled to fully participate. I will argue however that in order to create the conditions within which critical thinking can flourish, we need to examine the ways in which knowledge is conceptualized and understood and how knowledge, particularly in school, is positioned in relation to the ‘knower’ or ‘learner’. I will suggest that such a reconceptualization will inevitably present challenges to some pedagogical approaches.
I begin the chapter by exploring the philosophical underpinning of some commonly-held conceptions of the nature of knowledge and the relationship of the knower to knowledge; noting through examples from music education the impact these relationships can have on young people’s experiences of music in school. Drawing on the ideas of Paulo Freire (1970; 1974) I will then explore how through a process of ‘conscientization’ leading to critical consciousness, and supported by a critical pedagogy, critical thinking might be nurtured and ‘independence of mind’ developed within the music classroom. At various points in the chapter I will exemplify the points being made with brief examples or more worked out ‘case studies’ from music classroom practice
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An integrated approach to lesson planning
No full textAs you work your way through this chapter, you will begin to understand that although planning a lesson is a complex process, its primary purpose is to address two central and relatively straightforward questions. These are:
learning outcomes
teaching and learning strategies
The purpose of this chapter then is to consider how these two "big" questions addressed primarily through identifying the key principles that underpin effective lesson planning
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Music education and GCSE Music
No full textAspects of Teaching Secondary Music provides a practical illustration of the skills, knowledge and understanding required to teach music in the secondary classroom. Musical concepts and ideas are discussed and a critical examination of key issues is given. This encourages the reader to engage with these thoughts and consider their views and beliefs in terms of how they will influence their potential to teach music in an inspired and effective manner.
Gary Spruce draws on his long experience as a practitioner for the good of this book, with can be used along side the reader: Teaching Music in the Secondary School to form a comprehensive resource for those studying for the PGCE. These combinations of practical and theoretical books are available in a range of subjects to accommodate all on the course
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Learning to Teach Music in the Secondary School
No full textThis book has been written for students training to teach music in the secondary school. It aims to develop open and reflective practitioners who will engage critically in the cycle of planning and acting in the music classroom. It also encourages student teachers to develop their own philosophy of music so that they can rationalize their own work and the place of music in the curriculum. One of the main premises of the book is that music needs to be taught musically. The book is organized into four sections: The philosophy of teaching and learning in music The statutory curriculum and examination courses The practice of teaching and learning in music Wider issues beyond the classroom In each section, the authors include tasks, activities and reflections to help student teachers to integrate the theory and practice of music education
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Musical ideologies, practices and pedagogies
No full textTHis chapter argues that despite the inclusion in the curriculum from a wide range of traditions and cultures, formal music education continues to promote the values and processes associated with western art music resulting in the continuing alienation of children form the formal curriculum. The chapter explores the potential of framing a curriculum around Turino's concepts of musical practices rather than styles or genres as a means of addressing young people's alienation from music in schools
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