Relevant bibliographies by topics / Music Education Scotland

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  1. Journal articles
  2. Dissertations / Theses
  3. Books

Academic literature on the topic 'Music Education Scotland'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Music Education Scotland"

1

Sloggie, James, and James Ross. "Music Education in Scotland." British Journal of Music Education 6, no. 2 (1989): 213–18. http://dx.doi.org/10.1017/s0265051700007063.

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Stirrings of change in secondary education in general, and in music in particular, were taking place in Scotland towards the end of the seventies. Reports published at that time suggested that a deal of thinking on curriculum, and on methods of assessing pupils' achievements, was required. The authors record that, ten years later, the many discussions and trials that have taken place have borne fruit. In this article they describe the planning of the new examination in Music at Standard Grade, and take a brief look at its requirements.
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Urquhart, Alistair P. "European Music Year in Scotland." British Journal of Music Education 2, no. 3 (1985): 327–28. http://dx.doi.org/10.1017/s026505170000067x.

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Ghere, David, and Fred M. B. Amram. "Inventing music education games." British Journal of Music Education 24, no. 1 (2007): 55–75. http://dx.doi.org/10.1017/s0265051706007224.

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The first British patent describing an educational game designed for musical ‘amusement and instruction’ was granted in 1801 to Ann Young of Edinburgh, Scotland. The authors' discovery of Young's game box has prompted an examination of the nature and purpose of the six games she designed. Ann Young's patent is discussed in the context of her cultural environment, the history of women inventors, and eighteenth century educational theory. The activities are compared with musical instruction games recently patented in the UK and the USA.
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Sloggie, James, and James Ross. "Music in Scottish Secondary Schools: Towards a New Vision." British Journal of Music Education 2, no. 3 (1985): 267–77. http://dx.doi.org/10.1017/s0265051700000632.

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This is the story of a remarkable change in approach to musical education which has taken place in Scottish secondary schools during recent years.Readers will bear in mind that the system of education in Scotland is independent of, and different from, that established in England. It is administered locally by education authorities which, together with head-teachers, are responsible for the curriculum taught within the schools. The Secretary of State for Scotland, nevertheless, retains an overall responsibility for the structure and balance of the school curriculum, which he fulfils by providin
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Stubbs, Keith. "The Expressivist Future in Music Education." British Journal of Music Education 5, no. 1 (1988): 71–91. http://dx.doi.org/10.1017/s0265051700006343.

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Against the background of current debate concerning the proposed national curriculum, a number of questions remain unanswered. This paper examines the issue of how, and indeed whether music education is practised from an expressivist point of view. The expressivist position, as evidenced for instance in the work of Herbert Read, Louis Arnard Reid and Suzanne Langer, is analysed in the more recent work of Robert Witkin and Malcolm Ross.The paper continues by questioning whether there is an expressivist future in music education, discussing the work of Keith Swanwick and John Paynter alongside r
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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 (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
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7

Millar, Stephen R., Artur Steiner, Francesca Caló, and Simon Teasdale. "COOL Music: a ‘bottom-up’ music intervention for hard-to-reach young people in Scotland." British Journal of Music Education 37, no. 1 (2019): 87–98. http://dx.doi.org/10.1017/s0265051719000226.

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AbstractCommunity Orientated and Opportunity Learning (COOL) Music was a 12-month collaborative project between researchers at Glasgow Caledonian University and practitioners at the Edinburgh-based social enterprise Heavy Sound. The project began in October 2017 and involved 16 sessions of participatory music making with 32 ‘hard-to-reach’ young people (aged 12–17) aimed at increasing confidence and self-esteem and improving social skills. Using COOL Music as a case study, this article explores some of the challenges faced by community-based arts organisations tasked with delivering such inter
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8

Wilson, Alastair, Katie Hunter, and Lio Moscardini. "Widening the gap? The challenges for equitable music education in Scotland." Support for Learning 35, no. 4 (2020): 473–92. http://dx.doi.org/10.1111/1467-9604.12328.

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9

Southcott, Jane. "Egalitarian Music Education in the Nineteenth Century: Joseph Mainzer and Singing for the Million." Journal of Historical Research in Music Education 42, no. 1 (2019): 29–45. http://dx.doi.org/10.1177/1536600619848104.

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In the 1840s, massed singing classes led by charismatic pioneer music educators such as Joseph Mainzer (1801–1851) sprang up across the United Kingdom. Mainzer was a much respected composer, music journalist, and music educator. Born in Trèves (Prussia), he traveled across Europe and settled in Paris, where he was part of the revolutionary Association Polytechnique that offered free education to the working classes. His mass singing classes were a remarkable success but aroused the suspicions of authorities. Mainzer left Paris for political reasons and moved to England, and after teaching acro
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10

Hayes, Lauren. "Sound, Electronics, and Music: A Radical and Hopeful Experiment in Early Music Education." Computer Music Journal 41, no. 3 (2017): 36–49. http://dx.doi.org/10.1162/comj_a_00428.

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Discussions of pedagogical approaches to computer music are often rooted within the realm of higher education alone. This article describes Sound, Electronics, and Music, a large-scale project in which tutelage was provided on various topics related to sound and music technology to around 900 schoolchildren in Scotland in 2014 and 2015. Sixteen schools were involved, including two schools for additional support needs. The project engaged several expert musicians and researchers to deliver the different areas of the course. Topics included collective electroacoustic composition, hardware hackin
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Dissertations / Theses on the topic "Music Education Scotland"

1

Summers, Moira, Carolin Dässel, and Marcus Lauer. "Creating a classroom culture which promotes positive attitudes and motivated learners." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34626.

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Chapter and Analytical Short Films show the Scottish “aspects of quality” of music education. Four key capacities of comprehensive education: successful learners, confident individuals, responsible citizens, and effective contributors to society, and three key competences for comprehensive musicianship: listening, performing and composing.
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2

Lehmann-Wermser, Andreas. "How lessons are structured." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34625.

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This chapter demonstrates how distinct positions in “Didactics” structure lessons in general, even down to structures in interaction. Another focus lies in the role of assessment in a comparison between the Lower-Saxony- and the Scottland-Lesson. It can be shown that the role of assessment that is proposed by the school administration influences classroom action, again down to structures of interaction.
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Zandén, Olle. "Enacted possibilities for learning in goals- and results-based music teaching." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34628.

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In this chapter, enacted possibilities for learning in a Scottish and a Swedish music lesson are analysed and compared with the intended learning outcomes as defined in the Swedish national curriculum. The Scotland-Lesson proves to place more emphasis on music's auditive aspects while the Sweden-Lesson focuses playing as individual manual skills.
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Books on the topic "Music Education Scotland"

1

Francis, David. Traditional music in Scotland: Education, information, advocacy. Scottish Arts Council, 1999.

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2

Quincey, Marion Cameron de. Assessment in music in the third and fourth years of secondary schooling in Scotland: A report submitted to the Scottish Education Department. Dundee College of Education, 1986.

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3

Music education: An artificial intelligence approach : proceedingsof a workshop held as part of AI-ED 93, World Conference on Artificial Intelligence in Education, Edinburgh, Scotland, 25 August 1993. Springer-Verlag, 1994.

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4

1967-, Smith Matt, Smaill Alan, Wiggins Geraint A. 1962-, British Computer Society, and World Conference on Artificial Intelligence in Education (1993 : Edinburgh, Scotland), eds. Music education: An artificial intelligence approach : proceedings of a workshop held as part of AI-ED 93, World Conference on Artificial Intelligence in Education, Edinburgh, Scotland, 25 August 1993. Springer-Verlag, 1994.

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5

Wiggins, Geraint A., Matt Smith, and Alan Smaill. Music Education : An Artificial Intelligence Approach: Proceedings of a Workshop held as part of AI-ED 93, World Conference on Artificial Intelligence in Education, Edinburgh, Scotland, 25 August 1993. Springer, 2013.

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