British Journal of Music Education最新文献

Higher music education institutions should continually review their curricula to ensure that their graduates are best equipped to support musical learning for children and young people. Perspectives on early careers in instrumental teaching were obtained via an alumni-led workshop and focus group at a UK conservatoire. Findings revealed that whilst extensive pedagogical training was offered, its value was not fully acknowledged across the institution and that more could be done to alleviate students’ anxieties about their developing musician identities and future stability. As new teachers, alumni are well placed to help prepare students for the professional realities of joining the music education workforce.

The study aimed to investigate how students in lower secondary schools in England perceive the subject of music in terms of its importance and enjoyment. Following findings from the first survey phase of the project, it specifically sought to shed light on the reasons why the majority of students decide not to choose music as one of their optional subjects at GCSE level. The paper presents interview findings with students in three schools at the north-east of England following the phenomenographic method of data analysis. Among factors found to impact on students’ decision to continue music at Key Stage 4 (ages 14–16 years) were the desire to spend more time learning music, having more choice and autonomy in the classroom, having more information about the content and requirements of GCSE music, feeling disadvantaged due to not being proficient at instrumental playing and having a limited perception of their own musicality or perceiving music as being elite or difficult. The findings are discussed in terms of their practical implications for the teaching and learning of music in secondary schools.

This exploratory study describes the design and implementation of a sound-based intervention in the initial training of specialist music teachers at a Spanish university. It aimed to create spaces geared towards more creative and contemporary approaches to musical learning in order to gauge the perceptions of trainee teachers regarding this kind of approach. The intervention (45 h of class time) was based on the creation of electroacoustic compositions following the SBM (Sound Based Music) approach using digital tools (Aglaya Play, AP). Qualitative process data were collected through self-reports, individual memories, and nine focus groups. The results suggest that the implementation of new intervention models that take into account the development of future teachers’ creativity with activities focused on exploration, experimentation, and creation with sound can generate new opportunities to enrich their teaching identities.

My role as a university-based, general classroom music teacher educator in England has become unclear, exacerbated by policies that have undermined the field of classroom music in schools and the role of universities in teacher education. Using self-critical inquiry enacted as critically reflexive autoethnography, I interrogated my professional practice to rethink my pedagogic identity. Theoretical perspectives, drawn from Bernstein and Bourdieu, were used to chart my shifting identity. This paper introduces a theorised model to illustrate a range of pedagogic identities for Key Stage 3 (KS3) general classroom music teacher education.