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Journal articles on the topic 'Formal music education'
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1
Berbel Gómez, Noemy, and Maravillas Díaz Gómez. "Formal and non-formal education. A meeting point in music education." Aula Abierta 42, no. 01 (December 31, 2014): 47. http://dx.doi.org/10.17811/rifie.42.2014.47-52.
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Rose, Andrea M. "A Place for Indigenous Music in Formal Music Education." International Journal of Music Education os-26, no. 1 (November 1995): 39–54. http://dx.doi.org/10.1177/025576149502600104.
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Ng, Hoon Hong. "Towards a synthesis of formal, non-formal and informal pedagogies in popular music learning." Research Studies in Music Education 42, no. 1 (October 2, 2018): 56–76. http://dx.doi.org/10.1177/1321103x18774345.
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Informal pedagogy is closely associated with popular music practices, its methods known to engage students in authentic music learning that develops critical and independent thinking skills, social skills, creativity and self-identity, among others. However, formal and non-formal pedagogies also have relevant roles to play in popular music learning in the classroom, though their roles and interactions with informal pedagogy may require exploration. A recent survey conducted in Singapore schools suggests that a significant number of music teachers have never engaged their students in popular music practices, and they have no confidence in adopting appropriate pedagogies to effectively enable popular music learning. This article seeks to address the issue by reviewing relevant pedagogies and how they are employed in popular music programmes in two Singapore secondary schools. I will first examine the current discussion on formal, non-formal and informal pedagogies and their implications for music teaching and learning. Secondly, I will relate the discussion to two empirical case studies which adopt these learning approaches in popular music classes to examine their applications and how they interact in actual classroom situations. Based on this, I will suggest that a synthesis of these pedagogies in constant, complementary dialogue within and beyond the classroom paves the way towards a complete and holistic curriculum and learner experience.
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Folkestad, Göran. "Formal and informal learning situations or practices vs formal and informal ways of learning." British Journal of Music Education 23, no. 2 (June 29, 2006): 135–45. http://dx.doi.org/10.1017/s0265051706006887.
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During the last decade there has been an awakening interest in considering not only formalised learning situations within institutional settings, but also all the various forms of informal musical learning practices outside schools. Informal musical learning outside institutional settings has been shown to contribute to important knowledge and aspects of music education. In this article, I will examine research studies which in different ways focus on formal and informal learning situations and practices or formal and informal ways of learning. I will consider the relationship between music education as praxis (music pedagogy) and as research, and the relationship between these two facets of music education and the surrounding society. I will identify four different ways of using and defining formal and informal learning, respectively, either explicitly or implicitly, each one focusing on different aspects of learning: (i) the situation, (ii) learning style, (iii) ownership, and (iv) intentionality. Formal – informal should not be regarded as a dichotomy, but rather as the two poles of a continuum; in most learning situations, both these aspects of learning are in various degrees present and interacting. Music education researchers, in order to contribute to the attainment of a multiplicity of learning styles and a cultural diversity in music education, need to focus not only on the formal and informal musical learning in Western societies and cultures, but also to include the full global range of musical learning in popular, world and indigenous music in their studies.
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Oehrle, Elizabeth. "Challenges in Music Education Facing the New South Africa." British Journal of Music Education 15, no. 2 (July 1998): 149–54. http://dx.doi.org/10.1017/s0265051700009293.
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South Africa is undergoing dynamic changes affecting all aspects of life, and legacies of the previous regime have a bearing on these changes. Music educators informal institutions face many challenges. Music-making in the informal sector is extensive, ongoing and relevant. Today, one of the greatest challenges for music educators in the formal sector is to realise the importance and value of developing a philosophy and process of music education that emanates and evolves from musics and musical practices existing in southern Africa.
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Hargreaves, David J. "Intercultural perspectives on formal and informal Music learning." DEDiCA Revista de Educação e Humanidades (dreh), no. 1 (March 1, 2011): 53–66. http://dx.doi.org/10.30827/dreh.v0i1.7152.
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This paper reviews some of the changes and developments that have occurred in music education over the last decade, following Hargreaves and North’s (2001) international review. I describe some recent developments in England, in which change has been very rapid, and in which education has had a high political profile, and then consider the three main issues which emerged from our international review, namely curriculum issues; the aims and objectives of music education; and the relationship between music in and out of school. I go on to describe two theoretical models which were developed as a result of my work with the Qualifications and Curriculum Authority (QCA) in England: these are models of the different opportunities in music education, and of its intended outcomes. The first of these reveals the importance of the differences between formal and informal music learning, both of which can take place inside as well as outside schools. I conclude by reflecting on the power and ubiquity of music in young people’s everyday lives, which mean that music education policy should reflect and capitalize upon this power.
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Kwami, Robert. "Music education in Ghana and Nigeria: a brief survey." Africa 64, no. 4 (October 1994): 544–60. http://dx.doi.org/10.2307/1161373.
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This brief historical survey of music education in Ghana and Nigeria encompasses three periods—the pre-colonial, colonial and post-colonial eras. Its main aim is to search for explanations of an apparent dichotomy between African and Western musics in the curricula of schools in both countries. It shows that, during the pre-colonial and colonial eras, some missionaries, colonial administrators and teachers encouraged the use of indigenous musics in the formal, Western, education systems, whilst, in the post-colonial period, initiatives to include more indigenous African musics have put some pressure at lower levels of the curriculum. Consequently, it may be necessary to reassess the content, methods and resources of music education in both countries.
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Suharyanto, Agung. "Sejarah Lembaga Pendidikan Musik Klasik Non Formal di Kota Medan." Gondang: Jurnal Seni dan Budaya 1, no. 1 (December 1, 2017): 6. http://dx.doi.org/10.24114/gondang.v1i1.5967.
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Tjong Sce Yin (founder of the first music school in Medan) and Tjong A Fie Mansion (the first school house in Medan) with the name of Medan Music School renamed the Pure Music Institute (LMM) and now renamed the Conservatory Music Medan. In addition to the above three things, also can not be separated from some non-formal music education institutions that organize classical music education in Medan that is Melody Music Studio (Musical Field), Musika Era, Music Rhythm and Institute of Music Education (LPM) Farabi Medan .
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Stankutė, Judita. "IN THE WORTEX OF NON - FORMAL ART EDUCATION." ŠVIETIMAS: POLITIKA, VADYBA, KOKYBĖ / EDUCATION POLICY, MANAGEMENT AND QUALITY 1, no. 3 (December 10, 2009): 39–42. http://dx.doi.org/10.48127/spvk-epmq/09.1.39b.
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Judita Stankutė, a member of the journal's editorial board, talks to Rita Urniežiene, the director of the Rietavas Art School and the leader of the Rietavas mixed choir Jūrava. The current Rietavas Art School started operating as a branch of the Plungė Children's Music School in 1967. In 1970 the Rietavas Children's Music School, which was still operating in the time of Duke Bogdan Oginskis, was restored.
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Gage, Nathan, Bronwen Low, and Francisco Luis Reyes. "Listen to the tastemakers: Building an urban arts high school music curriculum." Research Studies in Music Education 42, no. 1 (June 29, 2019): 19–36. http://dx.doi.org/10.1177/1321103x19837758.
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In partnership with academics from McGill University and community arts partners, a high school in Montreal faced with significant challenges became an “urban arts school,” offering music and visual art programs centered in youth culture, as well as integrating arts into several academic subjects. The initiative was inspired by the school’s popular extra-curricular activities, which included a Hip Hop literacy club that ran beat making and rap writing workshops. Considering the popularity of these activities, the school decided to offer a music education program focused on musical skills through real-life music making activities that resemble those employed by popular musicians. This article chronicles the development of this music education program from the perspective of the music teacher, including the experience of continual adaptation to the needs and interests of students. The program is one of the first to combine Musical Futures, an approach to music education that promotes the combination of non-formal music teaching, informal music learning, and students’ interest in a formal school setting, with Hip Hop Based Music Education, predominantly located in community settings. This case study showed that students benefited from having an open-minded and committed educator with experience in popular musics. The co-teaching by professional Hip Hop artists also supported student progress and engagement by adding authenticity to the music making process. Furthermore, the alignment of the music program with the general school ethos contributed to its success. The paper also highlights the need to balance the development of musical skills with student engagement, and the informal music learning philosophy of Musical Futures with direct instruction associated with formal school settings.
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Stowell, Dan, and Simon Dixon. "Integration of informal music technologies in secondary school music lessons." British Journal of Music Education 31, no. 1 (August 28, 2013): 19–39. http://dx.doi.org/10.1017/s026505171300020x.
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Technologies such as YouTube, mobile phones and MP3 players are increasingly integrated into secondary school music in the UK. At the same time, the gap between formal and informal music learning is being bridged by the incorporation of students’ preferred music into class activities. We conducted an ethnographic study in two secondary schools in London, investigating the roles of technology in the negotiation of musical concepts in music classes. From this, we report some observations on the relation between formal/informal and authorised/unauthorised activities in class, and some specific observations on the role of YouTube, mobile phones and MP3 players in the class context. In the lessons we observed, these technologies functioned as part of a richly multimodal ecosystem of technologies, combining aspects of formal and informal use. This carries implications for how we plan for the use of technology in the delivery of music education.
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Powell, Bryan. "Community music interventions, popular music education and eudaimonia." International Journal of Community Music 00, no. 00 (February 24, 2021): 1–23. http://dx.doi.org/10.1386/ijcm_00031_1.
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The fields of community music and popular music education have expanded rapidly over the past few decades. While there are many similarities between these two fields, there are aspects that set these two areas of practice apart. This article seeks to explore the intersections of community music interventions and popular music education to explain how they are similar and in which ways they are unique. This discussion centres on examinations of facilitation, ownership of music, training and certification, inclusivity, life-long music making, amateur engagement, informal learning and non-formal education, and social concerns. The Greek philosophy of eudaimonism, understood as ‘human flourishing’ is then used to explore the opportunities for human fulfilment through popular music education and community music approaches.
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Hess, Juliet. "Finding the “both/and”: Balancing informal and formal music learning." International Journal of Music Education 38, no. 3 (April 22, 2020): 441–55. http://dx.doi.org/10.1177/0255761420917226.
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This article explores the informal and formal learning experiences of 20 activist-musicians. Multiple activist-musicians utilized the informal learning strategies Green identifies. More than half of the participants, however, bemoaned the lack of more formal music education. They noted that they valued informal musical learning practices and also wished that they had experienced more of a balance between formal and informal music learning strategies in their music education. Many of the participants identified as being self-taught. In interviews, they shared ideas about teaching themselves and “figuring things out” musically. They discussed both wanting to move away from theory and needing theory. They further preferred a structured approach to education before moving to a more “free” pedagogy. Ultimately, they noted that the human relationships intrinsic to musicking may transcend the need for “training.” This article concludes by exploring implications of implementing a balance between formal and informal learning for K-12 schooling and teacher education.
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Spears, Amy, Danelle Larson, and Sarah Minette. "Informal music-making among piano bar musicians: Implications for bridging the gap in music education." Journal of Popular Music Education 4, no. 3 (November 1, 2020): 371–88. http://dx.doi.org/10.1386/jpme_00019_1.
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Recent research in music education has sought to bridge the gap between formal music-making and informal music-making done by many musicians who may have little or no formal musical training. Piano bar musicians fall under the category of musicians who may or may not have had formal musical training but are able to perform covers of a variety of pop songs for live and interactive audiences. Many of them also play multiple instruments. Participants we observed and interviewed in this qualitative study were eight piano bar musicians from various regions of the United States. Key findings include that the primary method participants used to learn songs was listening and learning by ear; ‘reading’ music took multiple forms; music theory and chord functionality were useful and allowed for flexible musicianship; and that a participatory culture was important for learning the songs the musicians chose to learn.
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Carruthers, Glen. "Marshall Mcluhan and Higher Music Education." Articles 36, no. 2 (October 1, 2018): 3–11. http://dx.doi.org/10.7202/1051593ar.
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The way in which Marshall McLuhan’s theories relate to teaching and learning broadly has garnered scholarly attention. It is surprising, though, given his impact on Schafer and others, that there is scant critical commentary on the implications of McLuhan’s theories for either mass music or higher music education. The present study is a step towards redressing this gap. The study concludes that McLuhan’s iconoclastic views have direct bearing on formal learning environments, like music schools, that struggle with notions of inclusivity and exclusivity, community music and concert music, improvisation and textual interpretation, even as they embrace timely and sweeping curricular reform.
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Kallio, Alexis Anja. "Popular “problems”: Deviantization and teachers’ curation of popular music." International Journal of Music Education 35, no. 3 (August 2017): 319–32. http://dx.doi.org/10.1177/0255761417725262.
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Despite many music classrooms welcoming popular musics in striving towards an inclusive and democratic education, there has been relatively little research into teachers’ decisions regarding which popular musics are included and which are excluded from classroom activities. This is of particular interest taking into account arguments that the norms and values associated with some popular musics or songs exist in conflict with the ideals and ideologies of formal schooling. Through interviews with five Finnish music teachers, this article explores the identification and navigation of “problematic” popular musics in school contexts. Teachers noted that four musical features: lyrics, imagery, musical mood and emotional affect, influenced their constructions of popular musics and their repertoire selections for students. This study suggests that popular repertoire decisions are ethically, ideologically, and politically loaded, and that welcoming students’ own musics does not necessarily result in a more inclusive, democratic classroom culture.
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Swanwick, Keith. "The ‘good-enough’ music teacher." British Journal of Music Education 25, no. 1 (March 2008): 9–22. http://dx.doi.org/10.1017/s0265051707007693.
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Teaching and learning are complex processes and evaluating the work of music teachers is neither obvious nor simple. The outcomes of educational transactions may not be completely or immediately apparent. Furthermore, the contexts in which musical skills and understanding are acquired are multiple, going well beyond the formal categories of ‘general’ class music teacher or the ‘private’ instrumental and vocal teacher. In many of these alternative settings, standardised student assessment or teacher evaluation processes may be inappropriate. In this paper, an approach to evaluating teaching and learning draws on Swanwick's three principles for music educators. To these three principles is added the need to understand the educational and social context in which a teacher works. These criteria help to identify the ‘good-enough’ teacher's contribution to students' musical development. The concept of the ‘good-enough’ teacher is exemplified, not in the context of conventional formal teaching settings but in a third, much less defined role, that of music leader. The extent to which music leaders contribute to their musical environment is evaluated in a study of their continuing professional development. This evaluation was initiated by Youth Music, a UK organisation working alongside the formal and community-based sectors to support music-making and training.
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Jucevičiūtė-Bartkevičienė, Vaiva, and Vida Palubinskienė. "NEFORMALUSIS JAUNIMO ETNOKULTŪRINIS MUZIKINIS UGDYMAS: LENKIJOS PATIRTIS [YOUNG PEOPLE’S NON-FORMAL ETHNOCULTURAL MUSIC EDUCATION: THE POLISH EXPERIENCE]." ŠVIETIMAS: POLITIKA, VADYBA, KOKYBĖ / EDUCATION POLICY, MANAGEMENT AND QUALITY 8, no. 2 (October 25, 2016): 55–65. http://dx.doi.org/10.48127/spvk-epmq/16.8.55.
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Non-formal education is a promising form of education, which can effectively improve competencies of young people acquired during their studies in schools of higher education. Ethnic culture gains special significance in perceiving our own identity, becoming aware of the national values of other cultures in the context of the globalizing world. The context of this problem exposes questions for the research: how much ethno-cultural music education is important in young people’s life? What motives determine young people’s decision to participate in ethno-cultural music ensemble of non-formal education? What aspects of activities in ethno-cultural musical ensembles emphasize the non-formal education teachers? The aim of the research: to reveal the experience in non-formal ethno-cultural music education accumulated by higher education schools in the neighbouring country – Poland, connected to Lithuania by cultural and historical links. Methods of collecting the research data: The qualitative research was conducted in Wroclaw (Poland) in 2015. A survey (using open-ended type questions) was employed to gather diagnostic information, which was presented in the Polish language. Students (11 informants) who participated in this research provided their written opinions and teachers of non-formal education (2 informants) were interviewed by the researchers. The obtained data were analysed using qualitative content analysis: on the basis of the distinguished keywords, categories were determined, the content of the categories was divided into subcategories, which were further interpreted. Key words: ethno-cultural education, music education, non-formal education, ethnic identity, young people’s and adult education.
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Kastner, Julie Derges. "Healing bruises: Identity tensions in a beginning teacher’s use of formal and informal music learning." Research Studies in Music Education 42, no. 1 (July 23, 2018): 3–18. http://dx.doi.org/10.1177/1321103x18774374.
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The purpose of this narrative case study was to describe the developing teacher identity of Nicole Downing, a first-year teacher in the US, in her use of both formal and informal learning processes. As music education continues embracing approaches like informal music learning, it should also reflect on the voices of teachers in the field. Data collection included interviews, observations, and participant writings. Findings revealed that Nicole (a) questioned and eventually accepted her music teacher identity, (b) exhibited a dualism between her use of formal and informal music learning processes, and (c) broadened her community’s definition of school music. Nicole used the metaphor of a bruise to describe how she believed some in her undergraduate studies would judge her interest in popular music and creative musicianship, but as she became a music teacher she had agency to incorporate the informal learning she valued. Nicole exhibited a duality in her use of formal and informal learning processes, which were not integrated in her teaching. Ultimately, she developed a broadened definition of school music that she believed was beneficial for students but perceived negatively by other music teachers. Music teacher education should support teachers’ diverse identities and continue to explore the teaching strategies used in facilitating informal music learning experiences.
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Yang, Yang, and Graham Welch. "Pedagogical challenges in folk music teaching in higher education: a case study of Hua’er music in China." British Journal of Music Education 33, no. 1 (January 11, 2016): 61–79. http://dx.doi.org/10.1017/s0265051715000248.
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Recent literature suggests that traditional approaches in folk music education are not necessarily compatible with the pedagogical conventions of formal music education. Whilst several recent studies have tended to define these non-classical-music learning contexts as ‘informal’, the practice of folk music that was recently introduced into Chinese Higher Music Education appears to be much more complex and fluid, at least in its real world setting. This case study presents a detailed example of the teaching and learning of folk singing in contemporary society in Western China. In this particular context, both ‘informal learning’ and ‘formal’ music practices were observed and compared, based on research data collected from four music lessons and subsequent interviews with the participants. Drawing upon the analytical evidence, the research discusses a possible pedagogical model where two apparently contrasting approaches to learning (i.e. a conservatory model vs. traditional folk learning) could coalesce to ensure more effective learning outcomes of traditional folk music in higher education contexts.
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Swanwick, K. "Music education liberated from new praxis." International Journal of Music Education os-28, no. 1 (November 1996): 16–24. http://dx.doi.org/10.1177/025576149602800102.
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This article is in response to that of Robert Walker (IJME, 27, 2-15). It is proposed that attempts to define music in terms of either sonic material or socio-cultural acoustic phenomena are inadequate. Furthermore, it is important to distinguish between the view that all music is culturally rooted and the doubtful assertion that all music is uniquely reflective and expressive of a culture. This form of referentialism overlooks the transactional nature of musical discourse. The concept of discourse suggests a group of principles for music educators: care for music as conversation, care for the autonomy of students, teaching for expressiveness and promoting fluency before literacy. These complement the main dimensions of a formal music curriculum: analysis of cosmopolitan musical elements (by participation) and involvement in local musical events.
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Lonnert, Lia. "Amateur orchestras as a learning environment for music academy students." International Journal of Community Music 13, no. 1 (May 1, 2020): 49–63. http://dx.doi.org/10.1386/ijcm_00012_1.
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Orchestral playing is a common form of ensemble playing within higher music education. However, students sometimes participate in amateur orchestras outside of their formal education. This study focuses on what students learned by participating and what the educational institutions gained. The study is a case study of a music education institution and four amateur orchestras and consisted of eight interviews with conductors and administrators. The study shows that learning in the amateur orchestra is similar to learning in formal education contexts, such as developing knowledge of repertoire, in which both institutions contribute to the student’s overall knowledge. Nevertheless, some aspects are better learnt outside of formal education such as educational roles, the creation of a professional identity as a musician and knowledge of different social contexts.
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Sulaieva, N. "FUTURE MUSIC TEACHER TRAINING FOR PROFESSIONAL ACTIVITY IN OUT-OF-SCHOOL EDUCATIONAL INSTITUTIONS." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 100–109. http://dx.doi.org/10.33989/2226-4051.2021.23.238260.
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The article highlights the approaches to professional future music teacher training in the institutions of higher pedagogical education to work in out-of-school education institutions. The importance of providing the young generation with general art education and students of pedagogical universities training is emphasized. Emphasis is placed on the expediency of mastering the theoretical foundations of the organization and implementation of musical activities in out-of-school educational institutions in the process of formal education. At the same time, the need to combine such formal education with non-formal art education is highlighted. It is emphasized that in the process of preparing students for future music and pedagogical activities in out-of-school educational institutions, it is valuable to involve students in artistic and pedagogical educational activities in musical artistic and creative groups at higher pedagogical educational institutions. It is noted that such activities are examples of non-formal art education, and such experience of which s is an essential component of future music teacher training to work in out-of-school education.
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Chandransu, Nantida. "Integrating multicultural music education into the public elementary school curricula in Thailand." International Journal of Music Education 37, no. 4 (June 25, 2019): 547–60. http://dx.doi.org/10.1177/0255761419855827.
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This article reflects on various challenges encountered during a pilot action-based research “Integrating Multicultural Music Education into the Elementary School Curricula of Public Schools in Thailand.” This project was set up to develop lesson plans, activities, teaching tools and evaluation methods for music teachers. As a pilot-curriculum model, it pays particular attention to cross-cultural understanding for helping Thai children gain a sense of cultural conceptualization and the skills necessary for growing up in a racially, religiously, and culturally diverse society. This research attempts to explore possibilities for various music cultures introduced to the formal education system in Thailand, which had previously restricted music education to nationalist-based Thai music and certain samples of Western classical music. Once children discover multiple music cultures, their perspectives are broadened. The outcomes of this research will also be beneficial for future instruction designs. The attempt to update music education in the Basic Education level to accommodate changing social and cultural contexts affected by globalization and urbanization will raise awareness of cultural diversity and the direction of music education curriculum development. Music education through the Thai formal education system is one method of preparing children to grow up in a culturally diverse world.
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Castanon-Rodríguez, Rosario. "Teaching with LEEMUSICA/READMUSIC in Higher Education: Perception and Improve in Music Education." Proceedings 2, no. 21 (December 12, 2018): 1353. http://dx.doi.org/10.3390/proceedings2211353.
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The present work tries to reflect the student perception about their music education through the application of two tests in the classroom with university students at 3rd and 4th year of the Grade of Teacher at the Faculty of Education in the University of Valladolid. They have been realized at the beginning of the year the first one and at the end of the first semester of the academic year 2017/18. The first one concerns their previous formation in music (school and High school as well as formal/unformal music education—conservatories and schools of music - included their perception about the acquisition of basic music skins. The second test ask them specifically about their perception of improve of those skills (music language, tuning, playing instruments, aural education, didactic of music and use of ICT) after their formation in Higher Education with Leemúsica/Readmusic methodology.
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Emielu, Austin. "Some issues in formal music education in Nigeria: A case study of Kwara State." British Journal of Music Education 28, no. 3 (October 14, 2011): 353–70. http://dx.doi.org/10.1017/s0265051711000246.
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Every educational system has its goals and objectives, curricula and modes of implementation. There is however the need for periodic assessment and evaluation. Specifically, this research paper sets out to evaluate the success or otherwise of the music education delivery system in Kwara state of Nigeria and its implications for the goals of music education in Nigeria. Data were gathered primarily from field situations using empirical and deductive methodologies and secondarily from government publications and other publications related to the subject matter. The paper observes that the noble idea of bi-musicality, a concept that stresses musical literacy in both one's own culture and that of the West is hampered by lopsidedness, crisis of perspectives and inadequate resource materials and persons. There is also a structural defect in the vertical relationship between the various levels of music education in the state. The paper further identifies public perception of music as a Christian subject as one of the obstacles to an effective music education delivery system in Nigeria. The paper concludes that until significant musical theories and conceptual approaches emerge from extensive fieldwork into Nigeria's diverse musical cultures, it will be difficult to develop and sustain an authentic and functional music education framework in Nigeria.
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Abdullahi, Nimota Jibola Kadir, and Seun Muyiwa Sotayo. "Talent Promotion Programs and Management of Formal Education in Nigeria." Canadian Journal of Family and Youth / Le Journal Canadien de Famille et de la Jeunesse 13, no. 1 (January 8, 2021): 18–35. http://dx.doi.org/10.29173/cjfy29599.
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This study examined talent promotion programs and management of formal education among youth in Nigeria. This quantitative study determined the perception of administrators and lecturers on the importance of personality development, sports, music and reality television shows towards effective management of formal education. A purposive sampling technique was used to select 45 participants in three departments at the University of Ilorin, Kwara State, Nigeria. Data was collected using a Talent Promotion Programs and Management of Formal Education Questionnaire (TPPMFEQ), and analyzed using descriptive statistics. The findings revealed that personality development, sports, music and reality television shows are important towards effective management of formal education. The findings indicate that the government should promote personality development of youth by upgrading the monetary value given to high achievers in school after completion of their programs or degree in order to spur more interest in appreciating education and shaping the behaviour of individuals. Also, the government should provide sports-academic scholarship schemes that would serve as criteria and support for talented youth in order to assist them in pursuing their dreams and ensuring that all citizens are catered for educationally. In addition, the government should also place more emphasis on music as a way of bringing about a better life for youth. As well, the government should ensure the effective regulation of television programs so that they are educative, meaningful and relevant to the progress of youth in order to empower and reduce the problem of unemployment and poverty among youth.
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Abdullahi, Nimota Jibola Kadir, and Seun Muyiwa Sotayo. "Talent Promotion Programs and Management of Formal Education in Nigeria." Canadian Journal of Family and Youth / Le Journal Canadien de Famille et de la Jeunesse 13, no. 1 (January 8, 2021): 18–35. http://dx.doi.org/10.29173/cjfy29599.
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This study examined talent promotion programs and management of formal education among youth in Nigeria. This quantitative study determined the perception of administrators and lecturers on the importance of personality development, sports, music and reality television shows towards effective management of formal education. A purposive sampling technique was used to select 45 participants in three departments at the University of Ilorin, Kwara State, Nigeria. Data was collected using a Talent Promotion Programs and Management of Formal Education Questionnaire (TPPMFEQ), and analyzed using descriptive statistics. The findings revealed that personality development, sports, music and reality television shows are important towards effective management of formal education. The findings indicate that the government should promote personality development of youth by upgrading the monetary value given to high achievers in school after completion of their programs or degree in order to spur more interest in appreciating education and shaping the behaviour of individuals. Also, the government should provide sports-academic scholarship schemes that would serve as criteria and support for talented youth in order to assist them in pursuing their dreams and ensuring that all citizens are catered for educationally. In addition, the government should also place more emphasis on music as a way of bringing about a better life for youth. As well, the government should ensure the effective regulation of television programs so that they are educative, meaningful and relevant to the progress of youth in order to empower and reduce the problem of unemployment and poverty among youth.
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Mok, Annie O. "Formal or informal—which learning approach do music majors prefer?" International Journal of Music Education 36, no. 3 (March 1, 2018): 380–93. http://dx.doi.org/10.1177/0255761418761258.
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Although formal aural musicianship learning is prevalent in university and conservatory music curricula, an informal “ear-copying” approach can be an alternative. In this study, the formal “Written task” approach was taught weekly to a class of university music majors by the teacher–researcher, but an extra ear-copying “Listen & copy” task was added as part of the course requirements. The students formed friendly groups, chose a piece of music they liked, copied it by ear and then performed it in class. The aim was to compare the students’ perceived effectiveness in and perceptions of these two approaches, and to identify the approach they preferred. Data were collected from a questionnaire that included qualitative as well as quantitative questions, and which was processed using paired sample t-tests. The results showed that overall there was no perceived difference in the effectiveness of the two approaches in helping the students improve their aural musicianship. However, for the group who preferred the informal approach (almost double the number of students preferred the formal task), it showed statistically significant differences between the perceived effectiveness of both approaches. The active nature of informal learning was perceived as an enjoyable experience, although some students may require scaffolding in their learning.
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McPhail, Graham. "Informal and formal knowledge: The curriculum conception of two rock graduates." British Journal of Music Education 30, no. 1 (July 2, 2012): 43–57. http://dx.doi.org/10.1017/s0265051712000228.
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Informal learning has become a prominent theme in music education literature in recent times. Many writers have called for a new emphasis on informal knowledge and pedagogy as the way forward for music education. The position taken in this paper is that a central issue for music education is the accommodation of a tension between types of knowledge and the ways of knowing strongly associated with popular and classical of music – socially acquired informal knowledge and socially developed but formally acquired disciplinary knowledge. Approaches to curriculum conception and realisation observed in a recent series of case studies in New Zealand secondary schools suggest that a key factor in student engagement is the degree to which teachers can create links between informal and formal knowledge so that students’ understanding and conceptual abilities can be extended across these knowledge boundaries. The teaching approaches of two recent graduates in rock music are discussed to support the social realist argument that a ‘progressive’ approach to curriculum involves creating links between informal and formal knowledge rather than replacing one with the other or dissolving the boundaries between them. Through seeing the two types of knowledge as necessarily interconnected within educational contexts, the epistemic integrity of classroom music is maintained. In this way students are able to recognise themselves and their aspirations while also recognising the potential and power of the foundational knowledge of the discipline.
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Schippers, Huib, and Brydie-Leigh Bartleet. "The nine domains of community music: Exploring the crossroads of formal and informal music education." International Journal of Music Education 31, no. 4 (November 2013): 454–71. http://dx.doi.org/10.1177/0255761413502441.
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Kriščiūnaitė, Asta, Diana Strakšienė, and Remigijus Bubnys. "Non-Formal Musical Education in the Context of Children’s Experiences: Involving or Limiting?" Pedagogika 129, no. 1 (April 25, 2018): 126–41. http://dx.doi.org/10.15823/p.2018.09.
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The article deals with analysis of experiences of music school students through focusing on the threat of involvement and discrimination (in the context of the problem of political and practical dualism) by employing the conception of universal education design. Analysis of the research data revealed students’ primary experiences in music school, identification of teacher’s behavior in the process of teaching and learning which significantly contributed to (non-)involvement and (non-)limitation of students as well as manifestation of formal assessment in the education process. Summing up, an assumption is drawn that non-formal music education of children is still incapable of full-fledged involvement of children and prevention from discrimination while meeting their individual needs; however, it aims at higher integration of children into the system, i.e. not to adjust the system to the learners but rather to adapt the learners to the system.
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Virkkula, Esa. "Informal in formal: The relationship of informal and formal learning in popular and jazz music master workshops in conservatoires." International Journal of Music Education 34, no. 2 (November 30, 2015): 171–85. http://dx.doi.org/10.1177/0255761415617924.
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Váradi, Judit. "Musical education in the primary schools of Hungary, Romania, Serbia and Slovakia." Život i škola 64, no. 2 (2018): 67–76. http://dx.doi.org/10.32903/zs.64.2.5.
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The study is a part of international research, the aim of which was to examine a less known aspect of music education in four Central European countries: Hungary, Romania, Serbia and Slovakia. The research focused on school students aged between 8 and 12, N=805. The study explored the educational structure and curricula of the participating countries. It also put the emphasis on the teaching methods for introducing music to student; furthermore, it examined the presentation of live music. In the course of our research we examined the role of social variants with regard to the cultural activities of the children. Moreover, we explored the correlation between parental cultural capital and children’s interest in classical music. Another important aspect of our study was the international comparison focusing on the differences and similarities in music education between various countries. The third issue examined in detail was the relationship between the formal and non-formal education, i.e. how the extra-curricular education (such as experience pedagogy and concert pedagogy) can become part of the everyday pedagogical work of the schools.
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Kocaj, Agata, and Izabela Krasińska. "Musical education from the perspective "Musical news" (1925-1926)." Edukacja Muzyczna 15 (2020): 363–77. http://dx.doi.org/10.16926/em.2020.15.20.
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In Poland, over a hundred music magazines appeared in the interwar period. They were divided into several categories: subject and methodological, social and cultural music press, music and li- turgical magazines, regional music periodicals, as well as musicological and popular science mag- azines. The final group includes the subject of this article, “Wiadomości Muzyczne” (1925–1926), edited by the music collector and journalist Edward Wrocki. The article is the first attempt at a monograph elaboration of this periodical, both in terms of the formal and publishing aspects and its content. However, it focuses mainly on educational content, training and professional develop- ment of musicians and music and singing teachers in various types of schools (conservatories and music academies, primary and secondary schools, courses).
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Woody, Robert H., and Andreas C. Lehmann. "Student Musicians’ Ear-Playing Ability as a Function of Vernacular Music Experiences." Journal of Research in Music Education 58, no. 2 (June 30, 2010): 101–15. http://dx.doi.org/10.1177/0022429410370785.
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This study explored the differences in ear-playing ability between formal “classical” musicians and those with vernacular music experience ( N = 24). Participants heard melodies and performed them back, either by singing or playing on their instruments. The authors tracked the number of times through the listen-then-perform cycle that each participant needed for accurate performance. Participants retrospectively reported their thoughts and provided biographical information related to vernacular music experience. Analyses indicated that singing required fewer trials than playing on instruments and that vernacular musicians required fewer trials than formal musicians. The verbally reported thoughts indicated that participants used different strategies for encoding the melodies. Vernacular musicians applied a more sophisticated knowledge base to generate accurate expectations; formal musicians used less efficient strategies. Formal musicians devoted more conscious attention to physically producing the melodies on their instruments (e.g., fingerings), a process that was executed more automatically by vernacular musicians.
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Volbikienė, Asta, and Remigijus Bubnys. "ANALYSIS OF STUDENTS’ LIVED EXPERIENCES IN MUSIC SCHOOL: WHERE DOES THE MEANING OF LEARNING HIDE?" SOCIAL WELFARE: INTERDISCIPLINARY APPROACH 1, no. 10 (December 18, 2020): 82. http://dx.doi.org/10.21277/sw.v1i10.549.
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<p class="MDPI31text">This qualitative research discloses students’ subjective lived experiences in Lithuanian music school; thus, creating assumptions for implementing meaningful learning in children’s education. <em>Music schools</em> which dominate other non-formal education are not exempted because students’ lived experiences show that learning is given meaning there even before the commencement of formal learning. When formal learning starts, the perception of meaningfulness of learning begins to change. Results demonstrate that usually opposite experiences of those things which are expected are gained after students start learning, and that continuous communication between students and teachers in music schools is an <em>antidote</em> against meaningless teaching and learning.</p>
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Veloso, Ana Luísa. "Rethinking experimental music within music education: Thoughts and feelings after a voyage through the Project INsono." Revista Electrónica de LEEME, no. 46 (October 12, 2020): 49. http://dx.doi.org/10.7203/leeme.46.17409.
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This paper tells the story of INsono, an interactive sound installation and workshop created by a group of musicians for the 6th edition of the Big Bang in Lisbon, Portugal. To tell this story I will present my findings throughout a narrative that evolves through the analysis and interpretations of interviews with the musicians and the curator of the Big Bang Lisbon, field notes taken during the creation and the presentation of INsono, and group interviews with children about their lived experiences during the workshop. Describing the process that led to the creation of the final sound installation, I will explore, on one side, what were the main concerns and ideas of the musicians and the curator of the festival in what regards concepts such as education, childhood, music, and art, and, on the other, the perspectives of children that participated in the workshop on their experiences of INsono. This will, hopefully, lead us to a discussion where we might rethink the potentialities of experimental music in both formal and non-formal contexts of learning; moreover, it might lead us also to look at the dynamics, strategies and tools that are used in non-formal contexts as a source of inspiration to reflect on pedagogical approaches in the classroom that might enrich the musical and artistic experiences of children.
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Martin, Lisa D. "A Case Study of a Noncredentialed, Second-Career Music Educator." Journal of Music Teacher Education 28, no. 1 (July 27, 2018): 83–101. http://dx.doi.org/10.1177/1057083718788017.
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Throughout the United States, educators lacking formal credentials have increasing opportunities to assume classroom teaching positions. The purpose of this instrumental case study was to explore the career decision making and early-career teaching experiences of Holly, a noncredentialed music educator working in a public charter school. Data were collected over 6 months in the form of semistructured interviews, teaching and performance observations, and artifact analysis. Holly’s pathway to classroom teaching as a second career was characterized by nonlinear decision making, exploring numerous options before choosing to teach school music. Her early classroom teaching experiences were similar to those of traditional early-career music teachers with regard to classroom management concerns; however, her experience in private lesson instruction and directing community music theater equipped her with more practical pedagogical skill sets than typical early-career music educators. The discussion includes considerations of the value of formal credentialing and implications for music teacher education program recruitment.
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Poblete, Carlos, Adrian Leguina, Nicolás Masquiarán, and Bárbara Carreño. "Informal and non formal music experience: power, knowledge and learning in music teacher education in Chile." International Journal of Music Education 37, no. 2 (March 21, 2019): 272–85. http://dx.doi.org/10.1177/0255761419836015.
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Previous research recognizes the importance of musical experiences on music teacher education. However, current efforts do not provide a comprehensive view of the way their students learn music before starting university. The objective of this study is to portray their musical experiences, identifying the distinctive mechanisms underlying the relationship between practices, repertoires, and training contexts for music learning. A combination of pedagogical, social and musical dimensions, inspired by sociological theories of P. Bourdieu and B. Bernstein, examine the pre-university musical experiences and the mediating role of students’ sociocultural origins. Empirically, multimodal information from four Chilean universities ( n = 55) was collected through the application of a survey questionnaire and semi-structured interviews, and analyzed using a set of mixed techniques, including descriptive statistics, text mining, and content analysis. Findings reveal relevant associations between practices, repertoires, and learning contexts, especially in terms of the specialized nature of musical training and the habitus and cultural dispositions of practitioners. Particularly relevant is the predominance of informal and non-formal learning contexts and their translation into specific types of learning. These challenge current perspectives and contribute a tool kit for the understanding of the relationship between power and knowledge in future professional teachers.
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Carroll, Christine Leanne. "Seeing the invisible: Theorising connections between informal and formal musical knowledge." Research Studies in Music Education 42, no. 1 (March 28, 2019): 37–55. http://dx.doi.org/10.1177/1321103x18824641.
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This article explores the perceived disconnect between informal and formal musical knowledge, through a focused case study which aligned students’ informal knowledge with aspects of the formal curriculum. The upper high school or senior secondary student participants had a background in the creation and performance of popular and contemporary music, and already possessed well-developed informal and aural-based learning skills. Using a latter phase of Green’s (2008) informal learning research as a starting point, the students completed two written tasks: a scoring or transcription exercise, and an analysis report using the music “elements” or “concepts” framework of the syllabus. Legitimation Code Theory (LCT), was utilised in the theoretical appraisal of themes emerging from the study. Employing one LCT dimension known as Semantics, which explores the context-dependence and complexity of knowledge, a range of knowledge types were observed. These made visible points of connection and disconnection between the students’ informal knowledge and the formal knowledge required to complete the tasks. The study highlights the limitations of informal knowledge as a sole basis for formal knowledge construction, but equally unveils points of connection between the two, important in informing teacher facilitation, and, much needed in curriculum reform.
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Flash, Lesley. "Changing perceptions of music with Reception children." British Journal of Music Education 7, no. 1 (March 1990): 43–65. http://dx.doi.org/10.1017/s0265051700007506.
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This article is a summary of the influence on the author's practice of classroom observation of four- and five-year-old children working in music. It suggests that a strong emphasis on music in the Reception year is important both for musical and aesthetic development, and for the development of basic formal and social skills across the curriculum.
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McPhail, Graham. "A ‘fourth moment’ for music education? A response to Chris Philpott's sociological critique of music curriculum change." British Journal of Music Education 33, no. 1 (July 24, 2015): 43–59. http://dx.doi.org/10.1017/s0265051715000091.
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The catalyst for this paper is the ongoing debate concerning formal and informal approaches to pedagogy within the music education literature. I utilise a chapter by Philpott (2010) as a means to continue discussion about the apparent dialectic between formal and informal approaches to music learning and the case Philpott raises for radical change in ‘three moments’ of music education history. In engaging with the concerns in Philpott's chapter I also seek to bring to a wider audience the ideas developed by a group of sociologists of education who draw on the work of Basil Bernstein (2000) and critical realism (Moore, 2013) to argue for a realist theory of knowledge. I utilise thesesocial realistideas as a means to engage with the theme of access to what Michael F.D. Young has recently termed ‘powerful knowledge’ (Young, 2012). As Bernstein (2000) suggests we must have an understanding of the recontextualising principles that come into play whenever the classification of knowledge undergoes change, as ideologies shift and change. I argue for a balance between powerful forms of pedagogyandpowerful forms of knowledge based on an awareness of the essentially differentiated nature of knowledge.
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Gilbert, Lisa. "“Not just bow and string and notes”: Directors’ perspectives on community building as pedagogy in Celtic traditional music education organizations." International Journal of Music Education 36, no. 4 (July 4, 2018): 588–600. http://dx.doi.org/10.1177/0255761418774938.
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Celtic traditional musics, such as those originating in Ireland and Scotland, are typically transmitted outside formal avenues. Most studies regarding the learning of Celtic traditional music have focused on the experience of teachers and students, but less is known about the philosophies of organization directors who create contexts for teacher–student interactions. In an effort to fill this gap, this qualitative interview study examines the perspectives of nine directors of organizations located in Europe and North America dedicated to teaching Celtic traditional music. Analysis showed that directors perceived the aural transmission of the music as helping students connect with each other and build community. Further, directors’ beliefs about history tended to motivate their decision-making processes toward fostering community as part of their pedagogical practice. The learning goals they set for students tended to emphasize these intangible goals over and above technique- or repertoire-related aims, with social skills being included in their definitions of “musicianship.” Implications are raised regarding meaning-making and beliefs about history in Celtic traditional music communities.
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Ocaña-Fernández, Almudena, and Mª Luisa Reyes-López. "‘My Favorite Song’: understanding a music learning ecology of children from interaction among media, family and school contexts." British Journal of Music Education 36, no. 02 (May 17, 2019): 113–23. http://dx.doi.org/10.1017/s0265051719000081.
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AbstractIn the present case study, we used observation and interviews to investigate the musical experience of a group of children of 3–4 years old. We look into the uniqueness of music in the child’s environment which belongs to the media, family and school contexts. The present study allows us to understand some implications of musical experiences for building social identity and the need to link formal music learning processes with those taking place in non-formal and informal spaces. Through this paper, we provide a vicarious experience that will enable the reader to understand our findings and raise new questions and interpretations.
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Ng, Hoon Hong. "The Value of Learning Collective Free Music Improvisation: Preservice Music Educators’ Perspectives." Journal of Music Teacher Education 30, no. 3 (June 2021): 40–53. http://dx.doi.org/10.1177/10570837211018287.
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I conducted a case study to explore preservice music teachers’ behaviors, thoughts, and feelings when engaged in collective free music improvisation. Nine preservice music teachers were taught how to freely improvise within groups as part of a teacher education course and participated in interviews and focus group discussions. Major themes highlighted learning across three segments that emphasized communication and collaborative skills, entrepreneurial skills and risk taking, and reconciliation and transformation. I concluded that the sociomusical outcomes produced by collective free improvisation may complement those of more formal and idiomatic improvisation practices, and that by introducing preservice music teachers to free improvisation activities, they may be more willing to engage PK–12 students in free improvisation lessons that enhance the existing school music curriculum.
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Läänemets, Urve, Katrin Kalamees-Ruubel, Kristi Kiilu, Kadi Kaja, and Anu Sepp. "VALUES CREATED BY MUSIC EDUCATION IN GENERAL COMPREHENSIVE SCHOOLS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (May 28, 2021): 318–29. http://dx.doi.org/10.17770/sie2021vol2.6297.
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This is the final part of research started in 2014 when development of the new National Curricula (NC) was initiated. The role of music education had to be mapped to prove its meaning as a traditional mandatory subject in the NC. According to the research program, different aspects, related to music education (content, integration of art subjects, informal and non-formal music activities, supportive learning environments, etc.), were analysed. The research of 2020 is summarising the values music education can provide for development of educated, responsible, ethical and creative people. The data collected from essays of school students and (future and in-service) music teachers (n=166), were analysed by qualitative methods. The values were classified by the following categories: social, cultural, cognitive, moral, aesthetic, personal. The research results can be used as arguments for developing music education syllabi in the NCs from kindergartens to gymnasia. The whole program of research is already being used for further development of music teacher education.
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Barrett, Michael, Roy Page-Shipp, Caroline van Niekerk, and Johan Ferreira. "Learning music theory en passant: a study in an internationally recognised South African University student choir." British Journal of Music Education 37, no. 2 (July 12, 2019): 155–68. http://dx.doi.org/10.1017/s0265051719000238.
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AbstractWhile mastery of aspects of music theory is relevant to rapid learning and understanding of a new choral part, many choirs comprise members with no formal education in music theory. Also, the language of music theory is not intuitive, with many terms having meanings different from those in common use, which can present obstacles for mature learners. The authors hypothesised that students joining an internationally recognised university choir might master aspects of music theory as a by-product of rehearsals. This was tested by having new admissions to such a choir complete a music theory test at the commencement and at the end of a year. The test evaluated the ability to name and write intervals and name notes and the duration of notes. Overall results did not reject the hypothesis. Subjects with no formal music training also showed most, and statistically significant, improvement in the questions related to intervals, which are arguably the most useful skills for choristers who do not sight-read. This appears to be a new finding: the literature shows occasional references to music theory skills, but their acquisition in a learning-by-doing style is not reported. Some insights into ways of enhancing choral performance are a by-product of the principal focus of the study.
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Casas-Mas, Amalia, Juan Ignacio Pozo, and Ignacio Montero. "The influence of music learning cultures on the construction of teaching-learning conceptions." British Journal of Music Education 31, no. 3 (April 1, 2014): 319–42. http://dx.doi.org/10.1017/s0265051714000096.
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Current research in music education tends to put the emphasis on learning processes outside formal academic contexts, both to rethink and to renew academic educational formats. Our aim is to observe and describe three music learning cultures simultaneously, including formal, non-formal and informal settings: Classical, Jazz and Flamenco, respectively. We observed the conceptions of learning, teaching and evaluation within the framework of implicit theories. We used multiple-choice questionnaires to infer the profiles of these conceptions in 30 guitarists who are starting out on their professional careers in the three cultures and analysed whether there are related profiles. The results show that: (a) the Flamenco culture differs significantly from the others in the conception of teaching; (b) the three cultures are most alike in the conception of evaluation, for which conceptions are more sophisticated; (c) the classical culture is closer to constructive conceptions and farther from direct positions, while the opposite is true of Flamenco.
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Carrillo Méndez, Rubén De Jesús, and Patricia Adelaida González-Moreno. "Perfiles de aprendizaje musical formal e informal en educación superior." Revista Electrónica Complutense de Investigación en Educación Musical - RECIEM 18 (April 6, 2021): 139–65. http://dx.doi.org/10.5209/reciem.67923.
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El propósito del presente estudio fue examinar los perfiles motivacionales de estudiantes universitarios con relación al uso de estrategias de aprendizaje musical formal e informal, así como analizar sus trayectorias de formación y el cómo estas influyen en sus preferencias y las actividades musicales que realizan dentro y fuera de la escuela. En esta investigación participaron 132 estudiantes de programas de licenciatura en música provenientes de dos universidades mexicanas. Los participantes fueron clasificados en tres grupos de acuerdo con sus experiencias musicales y su formación previa: formal, informal y mixto. Se adaptó una escala psicométrica basada en la Teoría de Expectativas y Valores de Eccles et al., para examinar la motivación estudiantil hacia el uso de estrategias de aprendizaje formal (lectura musical, interpretación de repertorio, tocar y practicar solo) e informal (tocar de oído, improvisación, tocar en grupo). Los perfiles motivacionales obtenidos sugieren diferencias significativas entre grupos en su percepción hacia diversas estrategias de aprendizaje, de las cuales tocar de oído, improvisar y tocar en grupo tienden a ser favorecidas por los grupos informal y mixto, mientras que el grupo formal favorece más estrategias como la lectura musical o la interpretación fiel a la partitura. La percepción de dificultad de estas tareas también difiere entre los grupos. Estos resultados apuntan a la necesidad de dimensionar una mayor inclusión de estrategias de aprendizaje y géneros musicales dentro de la educación formal en nivel superior que atiendan a las necesidades e intereses del alumnado.