British Journal of Music Education最新文献

Instrumental tuition is by many seen as the cornerstone of higher music education (HME) performance programmes. An increasing body of research looks into its strengths and weaknesses and calls for development in a number of ways. This study contributes to this debate by exploring the ways in which international instrumental tuition practices are different, however limited to Western classical music practices. The article reports on a qualitative interview study of 12 students with experiences from 11 countries across America, Europe and Asia. Analysis of the interview data suggests that instrumental tuition practices are different when it comes to teacher positions, lesson formats and social organisation, responsibility and student voice and subject matter foci. These differences seem to correspond to social, musical and pedagogical structures and assumptions, and they could, as a result, be seen as differences on an international, institutional and individual level. The study suggests further that instrumental tuition practices could be seen as various manifestations of and negotiations between two broad archetypes in education: a teacher-centred archetype and a student-centred archetype. Increased knowledge about the variety of instrumental tuition practices is potentially a crucial matter in the field of HME, not the least due to power issues, and the study provides an analytical framework to analyse international, institutional and individual practices.

Recent governmental figures have demonstrated that the number of students taking an examination in A-Level Music across England has fallen by 41% in eleven years (Ofqual, 2023a). Furthermore, areas with lower POLAR ratings (i.e. historical rates of participation in higher education) and greater levels of deprivation correlate with lower uptake of A-Level Music (Whittaker et al., 2019). These findings have profound implications for equitable access to music education, especially at advanced levels. Against this challenging background, Sandbach School, the Love Music Trust and the Royal Northern College of Music have sought to respond by creating a new partnership approach to A-Level Music. Since September 2019, this specialist course has drawn students together from all over Cheshire whose access to A-Level Music has been geographically limited. Specifically aiming to facilitate progression into higher education, this course provides the young musicians with musical enrichment activities that are additional to the core curriculum, including performance opportunities, advanced musicianship classes, chamber music and instrumental tuition at the Royal Northern College of Music. This article presents a critical discourse analysis of data collected from these students and their teachers, contextualising their experiences within a broader analysis of recent socio-cultural trends and the associated political climate that has impacted on the provision of music education within English schools. Findings point to an important rearticulation of the meaning of ‘Music Hub’, where putting schools at the centre and enriching this provision through strategic partnerships with local ensembles, music services and higher education institutions can build musical cultures and communities that better enable equitable access to high-level music education and progression pathways into higher education.

This article examines how classical music students understand early twentieth-century recordings in higher music education. A qualitative research method was chosen to investigate the beliefs and self-reported practices of 16 students enrolled in a European conservatoire, whose attitudes were considered through the administration of a semi-structured questionnaire and an interview. Their responses identified seven main themes: (1) beliefs, (2) sources, (3) self-reported practices, (4) repertoires/performers, (5) educational implications, (6) limits and (7) benefits.

Results show how much students value early twentieth-century recordings – especially when it comes to analysing the performance practices of the past and developing new interpretations – and how articulate their responses can be with regard to specific stylistic and technical issues. However, possibly due to informal learning strategies and the lack of curricular teaching activities focusing on listening to and analysing recorded interpretations, some responses highlighted a misrepresentation of our recent musical past and the need for a more structured curricular activity. This last should benefit from a vast body of scholarly literature whose relevance is still underestimated among music practitioners.

Recent research has explored gender ratios in orchestras but not specifically in brass playing, a historically masculine field. Three studies investigated gender ratios in a variety of brass-playing situations. Public domain and questionnaire data were analysed using descriptive statistics, and a chi-square test found a significant effect of instrument size on gender ratios. The highest percentage of female brass players was found in youth ensembles, followed by the freelance workforce, semi-professional brass bands and then professional orchestras, indicating a leaky pipeline effect. These results show that women are still under-represented in most brass-playing contexts, particularly the most prestigious positions, and that more can be done in music education to change this.

This article explores the multifaceted landscape of music literacy education in South African secondary schools through an anagrammatic lens. Music literacy education is symbolised by the anagrams ‘NAOUIEDCT’ and ‘RCSSEOEUR’, encapsulating resource-related, cultural and pedagogical complexities. This comparison of music literacy education to anagrams creates an interesting analogy that can shed light on the complexity and challenges inherent in the situation. It aims to unravel these complexities, like solving a multifaceted puzzle. Thus, the result of this qualitative interpretive research project is the transformation of a complex challenge (conundrum) into symbolic puzzles (anagrams), aiming to decipher the intricacies of music literacy education. This methodology offers an approach to foster engagement and collaborative work toward future solutions. Through a comprehensive exploration, this research aims to unravel the layers of challenges inherent in Music Education, offering insights and recommendations for a nuanced and enriched educational experience. The data for this research project were collected through semi-structured interviews and, consequently, a thematic content analysis was carried out, first in a descriptive level of analysis, followed by a conceptual level of analysis. Computer-aided qualitative analysis software, namely ATLAS.tiTM23, played a valuable and significant role in both the literature review and thematic content analysis phases of this study.

In the 21st century, we are increasingly exposed to music created entirely on computers. This article shows how pioneering music teachers approach the challenge of teaching music on the laptop computer in the context of one-to-one musical instrument lessons. Interviews and observations with five laptop teachers in Norwegian secondary schools enabled the authors to explore characteristic challenges in this field. This study explored two research questions: What are the instructional strategies, content and ‘repertoire’ in music lessons on laptop computer? How have teachers experienced the laptop’s evolutionary process towards legitimation?

Music teachers in secondary education tend to undervalue the professional competence of creating music, in response to educational models that prioritise the development of musical interpretation skills. The aim of this research is to identify the factors that contribute to this belief among teachers in Spain, by analysing the results of the Professional Competences of the Music Teacher questionnaire (n = 112). Significant differences were found between age categories, as well as significant linear correlations between teachers’ perceptions of their preparation during initial training, their practical skills and habits, and the professional importance they attached to their competence in musical creation.

This article explores the potential barriers for emerging composers to constructing and maintaining a career in the field of composition in Scotland, viewed through the lens of both those early in their careers and the experience of others who have worked professionally for many years. Thirty-nine composers responded to a survey that highlighted the role of educational mentoring, the need for monetary stability and the challenges faced by female and older emerging composers. The professional lives of current Scottish composers have been seldom studied, and the purpose of this investigation is to explore, inform and provide suggestions for future consideration.

This Participatory Action Research (PAR) investigates the integration of informal music learning in Macau’s educational context, guided by the Model of Generative Change (Ball, 2009). Engaging the participating college students (N = 41), this study explores how learners perceive the formal–informal learning continuum (Folkestad, 2006) through the four stages of informal learning experiences: awakening, agency, advocacy and efficacy (Ball, 2009). Through multiple data collection methods and qualitative analysis, students experienced (a) autonomous learning, (b) joyful peer learning, (c) creative exploration and skill development and (d) resilience through challenges. Moreover, the study highlights the stages of awakening, introspection and critique from the students’ perspectives. Notably, a subset of students, predominantly those with prior formal instrumental training, expressed critiques concerning informal learning, predominantly regarding its perceived lack of systematic structure and foundational skills. These insights suggest a need to further embed informal music learning in Macau to foster a dynamic change towards generativity and a ‘multileveled cultural world’ (Law & Ho, 2015). The implications point to a broader pedagogical shift that values diverse learning experiences, which may enhance the development of a more adaptable, innovative and well-rounded musical skill set within the student population in Macau.