Pub Date : 2022-09-12DOI: 10.1017/S0265051722000274
Christine Carroll, Joanne Harris
Abstract The literature concerning pre-service training in music education for generalist primary or elementary school teachers reveals a long-standing problem for teacher educators: low or poor self-efficacy concerning the teaching of classroom music. Concurrently, a critical examination of training programmes has less often featured, with only limited discussion of digital approaches to classroom music-making constituting the focus of empirical research. Through a focused case study in one Australian university, 136 pre-service teachers participated in a face-to-face module of interactive music education which culminated in a peer-directed collaborative digital music-making project. Pre- and post-surveys were implemented with shifts in pre-service teachers’ self-efficacy measured according to Bandura’s self-efficacy scales. Legitimation Code Theory from the sociology of education then served as an overarching theoretical lens through which to appraise the findings. Despite an enduring self-concept as ‘non-musicians’, the results highlight positive shifts in self-efficacy through the utilisation of peer-directed digital music-making tasks, with implications for teacher training programmes more broadly situated.
{"title":"‘Because I’m not musical’: A critical case study of music education training for pre-service generalist primary teachers in Australia","authors":"Christine Carroll, Joanne Harris","doi":"10.1017/S0265051722000274","DOIUrl":"https://doi.org/10.1017/S0265051722000274","url":null,"abstract":"Abstract The literature concerning pre-service training in music education for generalist primary or elementary school teachers reveals a long-standing problem for teacher educators: low or poor self-efficacy concerning the teaching of classroom music. Concurrently, a critical examination of training programmes has less often featured, with only limited discussion of digital approaches to classroom music-making constituting the focus of empirical research. Through a focused case study in one Australian university, 136 pre-service teachers participated in a face-to-face module of interactive music education which culminated in a peer-directed collaborative digital music-making project. Pre- and post-surveys were implemented with shifts in pre-service teachers’ self-efficacy measured according to Bandura’s self-efficacy scales. Legitimation Code Theory from the sociology of education then served as an overarching theoretical lens through which to appraise the findings. Despite an enduring self-concept as ‘non-musicians’, the results highlight positive shifts in self-efficacy through the utilisation of peer-directed digital music-making tasks, with implications for teacher training programmes more broadly situated.","PeriodicalId":54192,"journal":{"name":"British Journal of Music Education","volume":"40 1","pages":"271 - 286"},"PeriodicalIF":2.0,"publicationDate":"2022-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42296473","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 : 2022-09-12DOI: 10.1017/S0265051722000237
B. Pickard, Rosie Rushton
Abstract This article evaluates the impact of volunteering with a music education project for children and adults with learning disabilities on the professional development and career trajectory of music students at a Conservatoire in the United Kingdom. A mixed-methods online questionnaire captured the impact of volunteering with Melody Music Birmingham. Findings suggest that volunteering was a powerful aspect of the respondents’ learning, potentially influencing their career choices, perceptions and attitudes. Further training and experiences for Conservatoire students in engaging with, supporting, and delivering music-making for people with learning disabilities are recommended.
摘要:本文评估了在英国一所音乐学院为有学习障碍的儿童和成人提供音乐教育项目的志愿服务对音乐学生专业发展和职业轨迹的影响。一份混合方法的在线调查问卷记录了在Melody Music Birmingham做志愿者的影响。研究结果表明，志愿服务是受访者学习的一个重要方面，可能会影响他们的职业选择、观念和态度。建议为音乐学院的学生提供进一步的培训和经验，以参与、支持和为有学习障碍的人提供音乐创作。
{"title":"Investigating the impact of volunteering with Melody Music Birmingham on the professional development and career pathways of Royal Birmingham Conservatoire students","authors":"B. Pickard, Rosie Rushton","doi":"10.1017/S0265051722000237","DOIUrl":"https://doi.org/10.1017/S0265051722000237","url":null,"abstract":"Abstract This article evaluates the impact of volunteering with a music education project for children and adults with learning disabilities on the professional development and career trajectory of music students at a Conservatoire in the United Kingdom. A mixed-methods online questionnaire captured the impact of volunteering with Melody Music Birmingham. Findings suggest that volunteering was a powerful aspect of the respondents’ learning, potentially influencing their career choices, perceptions and attitudes. Further training and experiences for Conservatoire students in engaging with, supporting, and delivering music-making for people with learning disabilities are recommended.","PeriodicalId":54192,"journal":{"name":"British Journal of Music Education","volume":"40 1","pages":"220 - 233"},"PeriodicalIF":2.0,"publicationDate":"2022-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45722006","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 : 2022-09-07DOI: 10.1017/S0265051722000249
S. Tatlow
A common conclusion drawn from publicly available Higher Education Statistics Agency (HESA) data releases is that Higher Music Education (HME) courses have a predominantly male population. However, HESA data has key issues when examining HME courses: which courses are reported as ‘music’ courses to HESA; how do universities decide which courses are ‘music’ courses; how many different topics are contained within the umbrella of ‘music’ courses? To address questions of gender representation in HME, universities in the UK were approached with Freedom of Information Act requests for the gender demographics of student populations on “music-related” courses. Information was gained on 3456 courses populations between 2014 and 2020, which was categorised by the subject of study. Six core undergraduate topics were identified: generic music degrees (female bias), degrees combining music and technology (male bias), degrees combining music and business (no gender bias), degrees on popular music (male bias), degrees combining music and theatre (female bias) and major conservatoire courses (no gender bias). No area was accurately represented by HESA data, and gender representation varied significantly between areas. These findings have implications for discussions of gender representation in HME across the UK.
{"title":"Exploring issues in categorisation of higher music education courses through FOI surveys of gender demographics in UK higher education institutions","authors":"S. Tatlow","doi":"10.1017/S0265051722000249","DOIUrl":"https://doi.org/10.1017/S0265051722000249","url":null,"abstract":"\u0000 A common conclusion drawn from publicly available Higher Education Statistics Agency (HESA) data releases is that Higher Music Education (HME) courses have a predominantly male population. However, HESA data has key issues when examining HME courses: which courses are reported as ‘music’ courses to HESA; how do universities decide which courses are ‘music’ courses; how many different topics are contained within the umbrella of ‘music’ courses? To address questions of gender representation in HME, universities in the UK were approached with Freedom of Information Act requests for the gender demographics of student populations on “music-related” courses. Information was gained on 3456 courses populations between 2014 and 2020, which was categorised by the subject of study. Six core undergraduate topics were identified: generic music degrees (female bias), degrees combining music and technology (male bias), degrees combining music and business (no gender bias), degrees on popular music (male bias), degrees combining music and theatre (female bias) and major conservatoire courses (no gender bias). No area was accurately represented by HESA data, and gender representation varied significantly between areas. These findings have implications for discussions of gender representation in HME across the UK.","PeriodicalId":54192,"journal":{"name":"British Journal of Music Education","volume":"40 1","pages":"234 - 254"},"PeriodicalIF":2.0,"publicationDate":"2022-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41913378","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 : 2022-09-06DOI: 10.1017/S0265051722000225
Julie Digby
Abstract This small-scale mixed methods study sought to explore the nature of the musical learning in the Reception year. Research data from the questionnaires (n = 39) provide some evidence that little has changed over the last two decades in some aspects of the music provision for children aged 4 and 5 years. However, interviews with eight Reception teachers revealed some unexpected findings on account of some contemporary barriers. Qualitative data suggest that children’s entitlement to develop their innate musicality within the Foundation stage curriculum may be at risk, as some teachers find the challenges of ‘fitting it all’ is difficult to accomplish.
{"title":"Is music on the wane? A small mixed methods study exploring musical learning in the school reception class in the East of England","authors":"Julie Digby","doi":"10.1017/S0265051722000225","DOIUrl":"https://doi.org/10.1017/S0265051722000225","url":null,"abstract":"Abstract This small-scale mixed methods study sought to explore the nature of the musical learning in the Reception year. Research data from the questionnaires (n = 39) provide some evidence that little has changed over the last two decades in some aspects of the music provision for children aged 4 and 5 years. However, interviews with eight Reception teachers revealed some unexpected findings on account of some contemporary barriers. Qualitative data suggest that children’s entitlement to develop their innate musicality within the Foundation stage curriculum may be at risk, as some teachers find the challenges of ‘fitting it all’ is difficult to accomplish.","PeriodicalId":54192,"journal":{"name":"British Journal of Music Education","volume":"40 1","pages":"124 - 140"},"PeriodicalIF":2.0,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45290706","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 : 2022-06-29DOI: 10.1017/s0265051722000183
L. Shaw
In a publication that explores the intriguing nature of conflicting professional identities in music, freelance singing teacher and choral director, Kerry Boyle, enables the voices of over 300 instrumental teachers working in a variety of educational contexts in the UK to come to the fore via a national survey and 18 case study interviews. In the book description, Boyle highlights ‘a lack of regulation and curriculum’ where ‘individuals can teach with no training or qualification’. This seemingly negative assertion is juxtaposed with the notion, expressed positively for the most part, that instrumental teachers enjoy ‘high levels of personal and professional autonomy’ (p. 1). The majority of participants in Boyle’s study identify as musicians as opposed to teachers, a phenomenon the author can relate to from an autoethnographic stance. Ambiguously, multiple-choice options vary across Survey questions 2: ‘Which of the following most accurately describes your main professional occupation?’ and 18: ‘Which of the following terms would you suggest is most appropriate in describing your professional identity?’ (see Appendix 1). Given the classroom-based practice associated with the word ‘teacher’, it is potentially problematic that it was not possible for participants to select ‘instrumental teacher’ in response to the latter question. This may have been intentional, however, to highlight the notion that instrumental teachers are ‘unable to claim the status of teacher attributed to professionals working as qualified classroom teachers’ (p. 92). Set against a wider research context where instrumental teaching is surprisingly perceived as ‘non-musical or non-creative activity’ (p. 102), participants’ teaching is evidently informed by a portfolio of broader musical activity. Despite this, much compartmentalised thinking is prevalent amongst participants, many of whom seem to view performing and teaching as separate entities involving the switching of roles. There is scope to tease out the interrelated and complementary nature of these activities a little more, especially in response to a conservatoire tutor’s suggestion that three years of performance training had been ‘wasted’ (p. 68) following their student’s decision to undertake a music-focused Postgraduate General Certificate in Education (PGCE) in lieu of a final year of specialist performance training. Indeed, Boyle suggests that ‘musician first then teacher’ models (p. 6, resonating with Huhtanen, 2008) emphasise hierarchical roles in music where musicians who choose to train as music educators are perceived as inferior to those who sustain a performance career alongside teaching. The striking statistic that over 50% of participants in this study had never received any ‘organised training or guidance’ (p. 20) before they began teaching suggests that they only had their own previous teacher(s)’methods as a foundation for their own practice. It is interesting therefore that participants perceived th
{"title":"The Instrumental Music Teacher: Autonomy, Identity and the Portfolio Career in Music by Kerry Boyle . International Society for Music Education (ISME) Global Perspectives in Music Education. Abingdon: Routledge, 2021","authors":"L. Shaw","doi":"10.1017/s0265051722000183","DOIUrl":"https://doi.org/10.1017/s0265051722000183","url":null,"abstract":"In a publication that explores the intriguing nature of conflicting professional identities in music, freelance singing teacher and choral director, Kerry Boyle, enables the voices of over 300 instrumental teachers working in a variety of educational contexts in the UK to come to the fore via a national survey and 18 case study interviews. In the book description, Boyle highlights ‘a lack of regulation and curriculum’ where ‘individuals can teach with no training or qualification’. This seemingly negative assertion is juxtaposed with the notion, expressed positively for the most part, that instrumental teachers enjoy ‘high levels of personal and professional autonomy’ (p. 1). The majority of participants in Boyle’s study identify as musicians as opposed to teachers, a phenomenon the author can relate to from an autoethnographic stance. Ambiguously, multiple-choice options vary across Survey questions 2: ‘Which of the following most accurately describes your main professional occupation?’ and 18: ‘Which of the following terms would you suggest is most appropriate in describing your professional identity?’ (see Appendix 1). Given the classroom-based practice associated with the word ‘teacher’, it is potentially problematic that it was not possible for participants to select ‘instrumental teacher’ in response to the latter question. This may have been intentional, however, to highlight the notion that instrumental teachers are ‘unable to claim the status of teacher attributed to professionals working as qualified classroom teachers’ (p. 92). Set against a wider research context where instrumental teaching is surprisingly perceived as ‘non-musical or non-creative activity’ (p. 102), participants’ teaching is evidently informed by a portfolio of broader musical activity. Despite this, much compartmentalised thinking is prevalent amongst participants, many of whom seem to view performing and teaching as separate entities involving the switching of roles. There is scope to tease out the interrelated and complementary nature of these activities a little more, especially in response to a conservatoire tutor’s suggestion that three years of performance training had been ‘wasted’ (p. 68) following their student’s decision to undertake a music-focused Postgraduate General Certificate in Education (PGCE) in lieu of a final year of specialist performance training. Indeed, Boyle suggests that ‘musician first then teacher’ models (p. 6, resonating with Huhtanen, 2008) emphasise hierarchical roles in music where musicians who choose to train as music educators are perceived as inferior to those who sustain a performance career alongside teaching. The striking statistic that over 50% of participants in this study had never received any ‘organised training or guidance’ (p. 20) before they began teaching suggests that they only had their own previous teacher(s)’methods as a foundation for their own practice. It is interesting therefore that participants perceived th","PeriodicalId":54192,"journal":{"name":"British Journal of Music Education","volume":"39 1","pages":"248 - 249"},"PeriodicalIF":2.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43783045","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 : 2022-06-29DOI: 10.1017/s0265051722000201
{"title":"BME volume 39 issue 2 Cover and Front matter","authors":"","doi":"10.1017/s0265051722000201","DOIUrl":"https://doi.org/10.1017/s0265051722000201","url":null,"abstract":"","PeriodicalId":54192,"journal":{"name":"British Journal of Music Education","volume":" ","pages":"f1 - f2"},"PeriodicalIF":2.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46003582","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 : 2022-06-29DOI: 10.1017/s0265051722000213
{"title":"BME volume 39 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s0265051722000213","DOIUrl":"https://doi.org/10.1017/s0265051722000213","url":null,"abstract":"","PeriodicalId":54192,"journal":{"name":"British Journal of Music Education","volume":" ","pages":"b1 - b2"},"PeriodicalIF":2.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44157830","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 : 2022-06-29DOI: 10.1017/S0265051722000171
Sven Bjerstedt
{"title":"Children’s Guided Participation in Jazz Improvisation: A Study of the ‘Improbasen’ Learning Centre. Series: SEMPRE Studies in The Psychology of Music, by Guro Gravem Johansen. Routledge, 2021. xiv+190 pp., hbk, £120, ISBN: 978-1-138-32297-4. doi: 10.4324/9780429451690","authors":"Sven Bjerstedt","doi":"10.1017/S0265051722000171","DOIUrl":"https://doi.org/10.1017/S0265051722000171","url":null,"abstract":"","PeriodicalId":54192,"journal":{"name":"British Journal of Music Education","volume":"39 1","pages":"245 - 247"},"PeriodicalIF":2.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43424370","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 : 2022-06-29DOI: 10.1017/S0265051722000195
Ally Daubney
Some of the key themes relate to the negative impact of school performance measures on the breadth of subjects offered in schools, the significant decline in the numbers of students taking GCSE and ‘A’ Level music qualifications and the decimation of the arts in the school and wider curriculum. Some of the areas raised in this report have been aired again in a recent research report from the Child Poverty Action Group (CPAG) (2022:8), which states that “Pupils experiencing poverty in England are financially excluded from full participation in a wide range of school subjects and activities, including…music”. According to research carried out by CPAG (2022:12). Given that the responsibility of music in the school curriculum lies with schools themselves and not music education hubs, this funding mandate perhaps gives us an indication of the potential future direction of travel for both the roles and remit of music education hubs and the imposition of specific curriculum expectations within a school system that can make its own curricula decisions.
{"title":"Editorial","authors":"Ally Daubney","doi":"10.1017/S0265051722000195","DOIUrl":"https://doi.org/10.1017/S0265051722000195","url":null,"abstract":"Some of the key themes relate to the negative impact of school performance measures on the breadth of subjects offered in schools, the significant decline in the numbers of students taking GCSE and ‘A’ Level music qualifications and the decimation of the arts in the school and wider curriculum. Some of the areas raised in this report have been aired again in a recent research report from the Child Poverty Action Group (CPAG) (2022:8), which states that “Pupils experiencing poverty in England are financially excluded from full participation in a wide range of school subjects and activities, including…music”. According to research carried out by CPAG (2022:12). Given that the responsibility of music in the school curriculum lies with schools themselves and not music education hubs, this funding mandate perhaps gives us an indication of the potential future direction of travel for both the roles and remit of music education hubs and the imposition of specific curriculum expectations within a school system that can make its own curricula decisions.","PeriodicalId":54192,"journal":{"name":"British Journal of Music Education","volume":"39 1","pages":"141 - 144"},"PeriodicalIF":2.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42408661","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 : 2022-05-16DOI: 10.1017/S0265051722000134
Kirsty Devaney
Abstract Although composing has been a significant part of formal classroom music education in England for over 30 years, there still remains uncertainty about how to teach and assess composing in secondary schools. This research investigates the under-researched area of teaching and learning of composing in upper secondary schools in England whereby students (aged 14–18) may opt to study music for a national qualification. Taking a mixed methodology approach, data were collected through a survey of 182 music teachers, interviews with five prominent composer-educators, as well as research with five case study schools involving observations of teaching and interviews with teachers and students. This paper reports on three prominent beliefs about composers that seem to underpin teaching and assessment practices; firstly that composers have innate musical talents; secondly that composing is solely an individual process and finally that students must learn the ‘rules’ of composing before being creative. This article proposes that these perceptions do not reflect the diversity of composers’ creative practices and may result in reinforcing stereotypes and myths about composers that have the potential to disadvantage certain students in the examination.
{"title":"Investigating how composing teaching and assessment in English secondary school classrooms reinforce myths about composers and their creative practices","authors":"Kirsty Devaney","doi":"10.1017/S0265051722000134","DOIUrl":"https://doi.org/10.1017/S0265051722000134","url":null,"abstract":"Abstract Although composing has been a significant part of formal classroom music education in England for over 30 years, there still remains uncertainty about how to teach and assess composing in secondary schools. This research investigates the under-researched area of teaching and learning of composing in upper secondary schools in England whereby students (aged 14–18) may opt to study music for a national qualification. Taking a mixed methodology approach, data were collected through a survey of 182 music teachers, interviews with five prominent composer-educators, as well as research with five case study schools involving observations of teaching and interviews with teachers and students. This paper reports on three prominent beliefs about composers that seem to underpin teaching and assessment practices; firstly that composers have innate musical talents; secondly that composing is solely an individual process and finally that students must learn the ‘rules’ of composing before being creative. This article proposes that these perceptions do not reflect the diversity of composers’ creative practices and may result in reinforcing stereotypes and myths about composers that have the potential to disadvantage certain students in the examination.","PeriodicalId":54192,"journal":{"name":"British Journal of Music Education","volume":"40 1","pages":"3 - 19"},"PeriodicalIF":2.0,"publicationDate":"2022-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46048499","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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