Pub Date : 2023-06-06DOI: 10.1177/02557614231179221
H. Choong
This article explores the ways in which popular musicians in Malaysia learn the craft of Western popular music-making in comparison to those in the United Kingdom. Literature that studied popular musicians and their practices had largely focused on communities within Anglosphere regions, and there are insufficient understandings of the journeys of non-Anglosphere popular musicians to determine if their experiences coincided with those from Anglosphere nations. In this mixed method study, popular musicians from Malaysia and the UK completed online questionnaires that enquired into their experiences with formal learning, as well as the practices they engaged in. Secondary data was also harvested from literature based on UK musicians for triangulation purposes. Though the findings indicated numerous overlaps in the experiences of popular musicians from both countries, there were areas of distinction. Malaysian popular musicians were more inclined than their counterparts in the UK, to engage with formal popular music learning, to cultivate a reliance on notation, and to experience instrumental lessons that comprised more features of informal learning. Implications from this article include the need to further investigate the factors behind the disparities, and to afford increased attention towards the learning cultures of non-Anglosphere popular musicians.
{"title":"The applicability of Anglosphere-based popular music learning culture characterisations to a Malaysian context","authors":"H. Choong","doi":"10.1177/02557614231179221","DOIUrl":"https://doi.org/10.1177/02557614231179221","url":null,"abstract":"This article explores the ways in which popular musicians in Malaysia learn the craft of Western popular music-making in comparison to those in the United Kingdom. Literature that studied popular musicians and their practices had largely focused on communities within Anglosphere regions, and there are insufficient understandings of the journeys of non-Anglosphere popular musicians to determine if their experiences coincided with those from Anglosphere nations. In this mixed method study, popular musicians from Malaysia and the UK completed online questionnaires that enquired into their experiences with formal learning, as well as the practices they engaged in. Secondary data was also harvested from literature based on UK musicians for triangulation purposes. Though the findings indicated numerous overlaps in the experiences of popular musicians from both countries, there were areas of distinction. Malaysian popular musicians were more inclined than their counterparts in the UK, to engage with formal popular music learning, to cultivate a reliance on notation, and to experience instrumental lessons that comprised more features of informal learning. Implications from this article include the need to further investigate the factors behind the disparities, and to afford increased attention towards the learning cultures of non-Anglosphere popular musicians.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47807289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-05DOI: 10.1177/02557614231178925
Eirini Nikolaou
This study focuses on exploring pre-service primary general teacher students’ ( N = 40) reflections on the opportunities they were given to awake their creativity, by participating systematically (13 weeks) in music improvisation activities, in the context of the course Music Education in a university classroom of a Greek Department of Primary Education. More specifically, it focuses on teacher-students’ reflections on the implemented music improvisation activities, on team interactions, their perceptions regarding classroom atmosphere and the way they feel during their participation, their confidence-as future teachers-to integrate the music improvisation activities in their classroom, their preference for individual or group music improvisations activities, and their beliefs on the characteristics of a creative teacher. The improvisations were carried out individually, in pairs and in groups, using their voice, their body, and percussion musical instruments. Data were collected through observation, diary keeping, and questionnaires with open-ended and closed-ended questions. As the findings indicated the primary general teacher-students expressed positive attitude regarding the awaking of their own creativity, enjoyed their participation, developed a rather strong self-confidence to implement improvisational activities as future teachers and considered as creative teacher a well-prepared facilitator who ensures the conditions for an interesting, structured lesson and promotes cooperation.
{"title":"Encouraging creativity through music improvisation activities: Pre-service primary general teacher-students’ reflections and beliefs","authors":"Eirini Nikolaou","doi":"10.1177/02557614231178925","DOIUrl":"https://doi.org/10.1177/02557614231178925","url":null,"abstract":"This study focuses on exploring pre-service primary general teacher students’ ( N = 40) reflections on the opportunities they were given to awake their creativity, by participating systematically (13 weeks) in music improvisation activities, in the context of the course Music Education in a university classroom of a Greek Department of Primary Education. More specifically, it focuses on teacher-students’ reflections on the implemented music improvisation activities, on team interactions, their perceptions regarding classroom atmosphere and the way they feel during their participation, their confidence-as future teachers-to integrate the music improvisation activities in their classroom, their preference for individual or group music improvisations activities, and their beliefs on the characteristics of a creative teacher. The improvisations were carried out individually, in pairs and in groups, using their voice, their body, and percussion musical instruments. Data were collected through observation, diary keeping, and questionnaires with open-ended and closed-ended questions. As the findings indicated the primary general teacher-students expressed positive attitude regarding the awaking of their own creativity, enjoyed their participation, developed a rather strong self-confidence to implement improvisational activities as future teachers and considered as creative teacher a well-prepared facilitator who ensures the conditions for an interesting, structured lesson and promotes cooperation.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44756547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-27DOI: 10.1177/02557614231175988
Ke Wang, Michael Webb
A standalone literature review was conducted to ascertain the extent and status of research on the practical inclusion of Chinese music in Western educational contexts. The study identified a body of journal articles and postgraduate theses on the topic. The papers were analysed to discern what might constitute best practice classroom approaches to teaching and learning Chinese music. Based on the review’s criteria for inclusion – papers were in English, praxis-oriented, peer-reviewed and published over the past three decades – the study found that the number of publications was limited (19) and that in terms of established pedagogical approaches they engaged, some gaps existed, certain pedagogies were minimally represented and some were perhaps too recent to have been trialled. Even so, the study concluded that while best practice is an elusive notion, Chinese music forms and styles appear to be compatible with a range of educational settings and Western-oriented music teaching and learning approaches.
{"title":"Seeking best practice: A systematic review of literature on Chinese music teaching and learning in Western classroom contexts","authors":"Ke Wang, Michael Webb","doi":"10.1177/02557614231175988","DOIUrl":"https://doi.org/10.1177/02557614231175988","url":null,"abstract":"A standalone literature review was conducted to ascertain the extent and status of research on the practical inclusion of Chinese music in Western educational contexts. The study identified a body of journal articles and postgraduate theses on the topic. The papers were analysed to discern what might constitute best practice classroom approaches to teaching and learning Chinese music. Based on the review’s criteria for inclusion – papers were in English, praxis-oriented, peer-reviewed and published over the past three decades – the study found that the number of publications was limited (19) and that in terms of established pedagogical approaches they engaged, some gaps existed, certain pedagogies were minimally represented and some were perhaps too recent to have been trialled. Even so, the study concluded that while best practice is an elusive notion, Chinese music forms and styles appear to be compatible with a range of educational settings and Western-oriented music teaching and learning approaches.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44771818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-25DOI: 10.1177/02557614231175777
Johannes M. A. Stijnen, L. Nijs, P. van Petegem
Instrumental music teaching traditionally emphasizes the cognitive, motor, and motivational processes of score reproduction, often at the expense of creative musical activities, such as improvisation or composition. Since today’s international art school curricula prominently include creativity competencies, opportunities to integrate creativity in instrumental lessons must be explored. This study investigates instrument teachers’ conception of musical creativity: its scope, opportunities, and risks. About 273 teachers completed an online questionnaire on their use of creative class time, beliefs, and barriers to creative instrument teaching. Although the majority acknowledged the benefits of creative activities for score-playing, they invested little in improvisation and composition due to a lack of time and training in musical creativity. Teachers considered interpretation a valuable form of musical creativity, next to improvisation and composition, but questioned its feasibility in instrument lessons. Implications for instrument-teacher training are discussed.
{"title":"Instrument teachers’ practices, beliefs, and barriers regarding musical creativity: Exploring the creative process of interpretation","authors":"Johannes M. A. Stijnen, L. Nijs, P. van Petegem","doi":"10.1177/02557614231175777","DOIUrl":"https://doi.org/10.1177/02557614231175777","url":null,"abstract":"Instrumental music teaching traditionally emphasizes the cognitive, motor, and motivational processes of score reproduction, often at the expense of creative musical activities, such as improvisation or composition. Since today’s international art school curricula prominently include creativity competencies, opportunities to integrate creativity in instrumental lessons must be explored. This study investigates instrument teachers’ conception of musical creativity: its scope, opportunities, and risks. About 273 teachers completed an online questionnaire on their use of creative class time, beliefs, and barriers to creative instrument teaching. Although the majority acknowledged the benefits of creative activities for score-playing, they invested little in improvisation and composition due to a lack of time and training in musical creativity. Teachers considered interpretation a valuable form of musical creativity, next to improvisation and composition, but questioned its feasibility in instrument lessons. Implications for instrument-teacher training are discussed.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47461553","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-25DOI: 10.1177/02557614231174033
Daniela Lerma-Arregocés, J. Pérez-Moreno
Musical communication between adults and children is a widely studied phenomenon in the field of music education and psychology. In the research carried out to date, a variety of methodological designs have been used, based mainly on the perceptions of adults, to investigate the different aspects of these musical interactions. Thus, there is little information about the characteristics of participation in the parent-infant relationship considering both adults and children’s musical behaviours. The aim of the study in which this article is framed was to identify the characteristics of parent and child participation in musical interactions involving vocal expression in the family environment, with the particularity of the data having being obtained directly from their everyday communication scenarios. The participants were five families with at least one child younger than 36 months. Data was collected by means of an audio recording device (DLP) associated with LENA® software. This article describes a tool for analysis that was designed and validated according to the particularities of the data. The MICAD – Musical Interaction among Children and Adult Descriptors – integrates characteristics of elements of both adult-child communication and the musical content present in their encounters. Thanks to the analysis provided by the MICAD it is possible to reach a deeper understanding of participants’ individual behaviours and distinguish different models of musical interaction between children and adults.
{"title":"Musical communication among parents and their children: An analysis tool to study their interaction","authors":"Daniela Lerma-Arregocés, J. Pérez-Moreno","doi":"10.1177/02557614231174033","DOIUrl":"https://doi.org/10.1177/02557614231174033","url":null,"abstract":"Musical communication between adults and children is a widely studied phenomenon in the field of music education and psychology. In the research carried out to date, a variety of methodological designs have been used, based mainly on the perceptions of adults, to investigate the different aspects of these musical interactions. Thus, there is little information about the characteristics of participation in the parent-infant relationship considering both adults and children’s musical behaviours. The aim of the study in which this article is framed was to identify the characteristics of parent and child participation in musical interactions involving vocal expression in the family environment, with the particularity of the data having being obtained directly from their everyday communication scenarios. The participants were five families with at least one child younger than 36 months. Data was collected by means of an audio recording device (DLP) associated with LENA® software. This article describes a tool for analysis that was designed and validated according to the particularities of the data. The MICAD – Musical Interaction among Children and Adult Descriptors – integrates characteristics of elements of both adult-child communication and the musical content present in their encounters. Thanks to the analysis provided by the MICAD it is possible to reach a deeper understanding of participants’ individual behaviours and distinguish different models of musical interaction between children and adults.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46970383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-16DOI: 10.1177/02557614231174032
Le Zhang
The purpose of this study was to understand music teachers’ experiences with an online professional development course focused on international-mindedness (IM). This course introduced the concept of IM by exposing xiaowai (out-of-school) music teachers in China to international music teaching methods. The results, which were based on interviews with the participants, journal entries, and teaching reflections, revealed the advantages and the difficulties these teachers identified when attempting to switch from their traditional teaching methods to a more international style. This research suggests that IM may be essential if xiaowai music teachers are to change their traditional way of teaching. The participants also experienced two types of limitations: some they saw and acknowledged themselves and others that they did not consciously perceive. The findings also suggest that it would be beneficial to explore a more “Chinese” way to implement IM.
{"title":"“I want to know more about the world”: A case study of international-mindedness as a means of professional development for music teachers in China","authors":"Le Zhang","doi":"10.1177/02557614231174032","DOIUrl":"https://doi.org/10.1177/02557614231174032","url":null,"abstract":"The purpose of this study was to understand music teachers’ experiences with an online professional development course focused on international-mindedness (IM). This course introduced the concept of IM by exposing xiaowai (out-of-school) music teachers in China to international music teaching methods. The results, which were based on interviews with the participants, journal entries, and teaching reflections, revealed the advantages and the difficulties these teachers identified when attempting to switch from their traditional teaching methods to a more international style. This research suggests that IM may be essential if xiaowai music teachers are to change their traditional way of teaching. The participants also experienced two types of limitations: some they saw and acknowledged themselves and others that they did not consciously perceive. The findings also suggest that it would be beneficial to explore a more “Chinese” way to implement IM.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41448361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1177/02557614221107190
Michele Biasutti, Roberta Antonini Philippe, Andrea Schiavio
The present article provides an in-depth look at the strategies and practices developed by a cohort of primary school music teachers in Italy to deliver online music lessons during the COVID-19 lockdown. We used a qualitative methodology based on semi-structured interviews to bring out our participants' voices and reflections in a very personal manner and examine their perspectives on issues important to their profession and daily work. We were interested in investigating which practices and strategies were used or developed to deal with the difficulties and positive aspects characterising their experiences as teachers during the lockdown period. A focus was put on lesson planning, time management, student involvement, and information and communication technology (ICT) skills. Qualitative data were analysed using an inductive method based on grounded theory, giving rise to the five following dimensions: classroom activities; the role of the school and staff members; teachers' interactions with children and their parents; positive outcomes; unresolved challenges. Participants discussed how they used ICT and managed their classes remotely, provided vivid descriptions of their professional relationships with colleagues and students, and reflected on the advantages and disadvantages of teaching music remotely, pointing to new ways to improve current teaching methodologies.
{"title":"E-learning during the COVID-19 lockdown: An interview study with primary school music teachers in Italy.","authors":"Michele Biasutti, Roberta Antonini Philippe, Andrea Schiavio","doi":"10.1177/02557614221107190","DOIUrl":"https://doi.org/10.1177/02557614221107190","url":null,"abstract":"<p><p>The present article provides an in-depth look at the strategies and practices developed by a cohort of primary school music teachers in Italy to deliver online music lessons during the COVID-19 lockdown. We used a qualitative methodology based on semi-structured interviews to bring out our participants' voices and reflections in a very personal manner and examine their perspectives on issues important to their profession and daily work. We were interested in investigating which practices and strategies were used or developed to deal with the difficulties and positive aspects characterising their experiences as teachers during the lockdown period. A focus was put on lesson planning, time management, student involvement, and information and communication technology (ICT) skills. Qualitative data were analysed using an inductive method based on grounded theory, giving rise to the five following dimensions: classroom activities; the role of the school and staff members; teachers' interactions with children and their parents; positive outcomes; unresolved challenges. Participants discussed how they used ICT and managed their classes remotely, provided vivid descriptions of their professional relationships with colleagues and students, and reflected on the advantages and disadvantages of teaching music remotely, pointing to new ways to improve current teaching methodologies.</p>","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10076230/pdf/10.1177_02557614221107190.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"9337178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1177/02557614231171649
Chengcheng Long
The purpose of this study was to explore Chinese music education undergraduates’ music teacher role-identities. Data were collected through focus groups and individual interviews. A qualitative content analysis, using McCall and Simmons theory of role-identity as the theoretical framework, revealed that each of the 25 students’ imaginative view of self as a music teacher was an ongoing process of negotiation during their undergraduate education. Students were consistently negotiating the content of their own music teacher role-identities through balancing their needs for rewards from others and their own self-support. Students described the conventional character of a teacher as being respectful, responsible, and fair and the role of a teacher as acting professionally in music and teaching through cognitive role-taking and improvisation, as well as expressive enactment and negotiations. Students were active agents in constructing their role-identities, bringing their own idiosyncratic interpretations to music teacher positions. McCall and Simmons’ prominence and salience hierarchies helped understand how students valued their music teacher role-identity, compared to their other role-identities. Implications and suggestions for music teacher education policy and practices in China and in other countries are discussed to facilitate undergraduates in constructing music teacher role-identities.
{"title":"Music education undergraduates’ construction of music teacher role-identity","authors":"Chengcheng Long","doi":"10.1177/02557614231171649","DOIUrl":"https://doi.org/10.1177/02557614231171649","url":null,"abstract":"The purpose of this study was to explore Chinese music education undergraduates’ music teacher role-identities. Data were collected through focus groups and individual interviews. A qualitative content analysis, using McCall and Simmons theory of role-identity as the theoretical framework, revealed that each of the 25 students’ imaginative view of self as a music teacher was an ongoing process of negotiation during their undergraduate education. Students were consistently negotiating the content of their own music teacher role-identities through balancing their needs for rewards from others and their own self-support. Students described the conventional character of a teacher as being respectful, responsible, and fair and the role of a teacher as acting professionally in music and teaching through cognitive role-taking and improvisation, as well as expressive enactment and negotiations. Students were active agents in constructing their role-identities, bringing their own idiosyncratic interpretations to music teacher positions. McCall and Simmons’ prominence and salience hierarchies helped understand how students valued their music teacher role-identity, compared to their other role-identities. Implications and suggestions for music teacher education policy and practices in China and in other countries are discussed to facilitate undergraduates in constructing music teacher role-identities.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42958259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-26DOI: 10.1177/02557614231170285
Chunxiao Zhang, B. Leung
The primary purpose of the study was to explore the current situation of Chinese music majors’ self-regulated learning (SRL) in the individual music practice context. Two undergraduate piano players’ music practice profiles were collected using SRL microanalysis protocols and follow-up semi-structured interviews. The results have shown: (1) there were obvious differences between the two Chinese music majors’ before, during, and after their practice sessions; (2) both participants’ SRL during music practice could be enhanced by developing advanced practice strategies (including metacognitive and mental strategies); (3) music majors’ SRL has been influenced by Chinese culture when seeking help from teachers and in self-attribution; (4) the SRL microanalysis can effectively obtain specific contextualized information regarding music majors’ behavior, cognition, and affect during their practice in the Chinese context. This study reflects the Chinese music majors’ current situation in terms of self-regulated music practice and provides insights useful to understanding the practices of students influenced by Chinese culture and improving them to achieve higher levels of self-regulated music practice.
{"title":"Music majors’ self-regulated learning (SRL) of music practice in China: Two case studies based on the SRL microanalysis","authors":"Chunxiao Zhang, B. Leung","doi":"10.1177/02557614231170285","DOIUrl":"https://doi.org/10.1177/02557614231170285","url":null,"abstract":"The primary purpose of the study was to explore the current situation of Chinese music majors’ self-regulated learning (SRL) in the individual music practice context. Two undergraduate piano players’ music practice profiles were collected using SRL microanalysis protocols and follow-up semi-structured interviews. The results have shown: (1) there were obvious differences between the two Chinese music majors’ before, during, and after their practice sessions; (2) both participants’ SRL during music practice could be enhanced by developing advanced practice strategies (including metacognitive and mental strategies); (3) music majors’ SRL has been influenced by Chinese culture when seeking help from teachers and in self-attribution; (4) the SRL microanalysis can effectively obtain specific contextualized information regarding music majors’ behavior, cognition, and affect during their practice in the Chinese context. This study reflects the Chinese music majors’ current situation in terms of self-regulated music practice and provides insights useful to understanding the practices of students influenced by Chinese culture and improving them to achieve higher levels of self-regulated music practice.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47033452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-18DOI: 10.1177/02557614231157740
Rami Chahin
During the last decade, the Syrian crisis has, in various ways, imposed many fundamental changes upon Syrian society. It has pervaded cultural issues at large with a major effect on education. Ideologies, schooling, mass media, human relationships, and mutual understanding, all have been the target of fierce upheaval. This article examines the question of how much this crisis has affected the music education system, especially for children, who are its silent victims. Is there a big difference in music education and its delivery prior to 2011 and since? Which methods do teachers now have to use when they teach and how much are these methods far and free from politics? Does music serve special goals and ideologies? To answer these questions, I wrote a short historical review about the Syrian education system, and interviewed three music teachers who studied in and currently work in Syria for the purpose of obtaining their feedback of the status of teaching/learning music in Syria. To document and support my work I included and analyzed some publicly available videos. The aim of this research work was to investigate to what extent the music curricula are appropriate for primary education especially in this time of crisis; and ascertain whether they resonate with Syrian children’s conditions and provide some positive influence during the difficult time that the country current experience.
{"title":"Music education at the primary level in Syria, before and during the current crisis","authors":"Rami Chahin","doi":"10.1177/02557614231157740","DOIUrl":"https://doi.org/10.1177/02557614231157740","url":null,"abstract":"During the last decade, the Syrian crisis has, in various ways, imposed many fundamental changes upon Syrian society. It has pervaded cultural issues at large with a major effect on education. Ideologies, schooling, mass media, human relationships, and mutual understanding, all have been the target of fierce upheaval. This article examines the question of how much this crisis has affected the music education system, especially for children, who are its silent victims. Is there a big difference in music education and its delivery prior to 2011 and since? Which methods do teachers now have to use when they teach and how much are these methods far and free from politics? Does music serve special goals and ideologies? To answer these questions, I wrote a short historical review about the Syrian education system, and interviewed three music teachers who studied in and currently work in Syria for the purpose of obtaining their feedback of the status of teaching/learning music in Syria. To document and support my work I included and analyzed some publicly available videos. The aim of this research work was to investigate to what extent the music curricula are appropriate for primary education especially in this time of crisis; and ascertain whether they resonate with Syrian children’s conditions and provide some positive influence during the difficult time that the country current experience.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47049045","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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