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Journal articles on the topic 'Music Education Scotland'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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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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2

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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3

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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4

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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5

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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6

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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11

Davies, Lloyd. "Curriculum change: an exploration of its impact upon school music in Scotland between 1978 and 2000." British Journal of Music Education 25, no. 1 (2008): 77–90. http://dx.doi.org/10.1017/s0265051707007735.

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The article explores curriculum change in Scottish schools between 1978 and 2000 and its impact on learning and teaching. This period produced far reaching alterations to music curriculum thinking and practice. However, there is presently only limited reference within music education literature to strategies that either support or enhance our understanding of the change process. An attempt is made to address some of these omissions, to identify the conditions that most effectively foster and manage change and so establish a clearer basis for future studies. The wider implications of music curr

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12

COX, GORDON, and STEPHANIE PITTS. "Editorial." British Journal of Music Education 22, no. 1 (2005): 3–4. http://dx.doi.org/10.1017/s026505170500608x.

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In her contribution to our Special Issue in 2003, Estelle Jorgensen called for ongoing conversations between university lecturers and school teachers, to avoid the danger of music educators, historians and theorists being ‘like ships sailing past each other in the night’. We believe that one of the functions of BJME is to develop such collegial relationships and thus help to establish a strong music education community at all levels, both nationally and internationally. Certainly this present issue reflects a range of contexts from nursery schools to universities, with papers from researchers

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13

Hewitt, Allan. "A Review of the Role of Activity-based Learning Experiences in the Music Curriculum, and their Current Implementation in the Standard Grade Music Course in Scotland." British Journal of Music Education 12, no. 3 (1995): 203–14. http://dx.doi.org/10.1017/s0265051700002709.

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This paper reviews the implementation (1988) of a practical music-making curriculum in Scotland for 14—16 year olds in the context of its reliance on activity-based learning experiences. Such experiences, which result in the pupil taking part in subject-related activities such as performing, inventing, and active listening, enable knowledge and skills to be applied and developed in a variety of ways, and in so doing reinforce previous learning and allow new opportunities for learning and teaching. This approach has a theoretical foundation in a wide variety of literature, and the paper focuses

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14

Bannister, R. "Rachel Hayward, The Steelpan Handbook, Piper Publications, Girvan, Scotland, 1993; 52 pp., (no ISBN number)." International Journal of Music Education 23, no. 1 (1994): 89. http://dx.doi.org/10.1177/025576149402300123.

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15

MacIntyre, Peter D., Jessica Ross, and Heather Sparling. "Flow Experiences and Willingness to Communicate: Connecting Scottish Gaelic Language and Traditional Music." Journal of Language and Social Psychology 38, no. 4 (2019): 536–45. http://dx.doi.org/10.1177/0261927x19867364.

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This brief report examines correlations between intense, highly motivating flow experiences, perceptions of competence, and willingness to communicate in both language and music, in the context of Scottish Gaelic and traditional music. The sample of 54 persons, mostly from Canada and Scotland, was contacted via Facebook groups. The frequency of flow experiences correlated highly between language and music contexts. Correlations for willingness to communicate/play and perceived competence with language and music also are reported. Results are interpreted as reflecting a combination of social (e

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16

Hewitt, Allan. "Student musicians' self- and task-theories of musical performance: the influence of primary genre affiliation." British Journal of Music Education 26, no. 3 (2009): 293–314. http://dx.doi.org/10.1017/s0265051709990118.

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One hundred and sixty-five undergraduate music students studying in Scotland completed a 30-statement Q-sort to describe their self- and task-theories of musical performance. Statements reflected the importance of effort, confidence, technical ability, significant others and luck/chance in determining a successful performance. The Q-sorts were reduced to six underlying sorting patterns, or viewpoints. The relationship between sorting patterns and participants' primary genre affiliation was explored in order to identify whether self and task-theories were a function of genre affiliation. Some i

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17

Odam, George. "Teaching composing in secondary schools: the creative dream." British Journal of Music Education 17, no. 2 (2000): 109–27. http://dx.doi.org/10.1017/s0265051700000218.

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Composing is an obligatory activity at Key Stage 3 in the present National Curriculum in music for England and for Wales. The research programme, based on field visits, seminars and questionnaires, seeks to identify a basis for effective classroom practice through direct observation of experienced teachers and their pupils in twenty-six State secondary schools across England. Visits have also been made to Northern Ireland, Scotland and Wales. Group-work is the dominant working method in most secondary schools. Much time is at present wasted in group-work and it contributes significantly to str

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18

Mcphee, Alastair, Peter Stollery, and Ros Mcmillan. "The Wow Factor? A Comparative Study of the Development of Student Music Teachers’ Talents in Scotland and Australia." Educational Philosophy and Theory 37, no. 1 (2005): 105–17. http://dx.doi.org/10.1111/j.1469-5812.2005.00101.x.

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19

Black, Pauline. "On being and becoming a jazz musician: Perceptions of young Scottish musicians." London Review of Education, November 15, 2017. http://dx.doi.org/10.18546/lre.15.3.02.

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This paper examines what goes on in an improvising jazz combo in a secondary school in Scotland, where teaching follows Rogoff's three-stage sociocultural process, moving from an initial apprenticeship model through one of guided participation to one of participatory appropriation. Using a case study research design and interpretative phenomenological analysis, and drawing on sociocultural perspectives, the music-making and participation of three participants is discussed and presented through narrative account. Three key themes emerged as perceived benefits: (1) personal effects, (2) social e

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20

Tubb, J., and C. V. Burek. "Gertrude Elles: the pioneering graptolite geologist in a woolly hat. Her career, achievements and personal reflections from her family and colleagues." Geological Society, London, Special Publications, October 26, 2020, SP506–2019–203. http://dx.doi.org/10.1144/sp506-2019-203.

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AbstractGertrude Elles gained worldwide renown for her seminal work with Ethel Wood on A Monograph of British Graptolites, which is still used today. She gained the MBE, pioneered female geological education, became the first female reader in Cambridge University and one of the first tranche of female Fellows of the Geological Society in 1919. An eccentric with a vast array of hats, PhD students and lodgers, she was a stalwart member of the Sedgwick Club and life member of the British Federation of University Women. She wrote obituaries for colleagues describing their achievements with humour

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21

Coates, Heather L. "Disadvantaged Youth in Southern Scotland Experience Greater Barriers to Information Access Resulting from Poor Technology Skills, Information Literacy, and Social Structures and Norms." Evidence Based Library and Information Practice 11, no. 4 (2016). http://dx.doi.org/10.18438/b85d1t.

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A Review of: Buchanan, S., & Tuckerman, L. (2016). The information behaviours of disadvantaged and disengaged adolescents. Journal of Documentation, 72(3), 527-548. http://dx.doi.org/10.1108/JD-05-2015-0060   Objective – To describe the information behaviours of adolescents living in disadvantaged and disengaged circumstances in relation to social integration and self-efficacy.  Design – Mixed methods design using observation, semi-structured interviews, and focus groups.   Setting – Public agencies offering drop-in support services for employment

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22

Champion, Katherine M. "A Risky Business? The Role of Incentives and Runaway Production in Securing a Screen Industries Production Base in Scotland." M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1101.

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IntroductionDespite claims that the importance of distance has been reduced due to technological and communications improvements (Cairncross; Friedman; O’Brien), the ‘power of place’ still resonates, often intensifying the role of geography (Christopherson et al.; Morgan; Pratt; Scott and Storper). Within the film industry, there has been a decentralisation of production from Hollywood, but there remains a spatial logic which has preferenced particular centres, such as Toronto, Vancouver, Sydney and Prague often led by a combination of incentives (Christopherson and Storper; Goldsmith and O’Re

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