Relevant bibliographies by topics / Music – Instruction and study (Secondary) – Singapore

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Academic literature on the topic 'Music – Instruction and study (Secondary) – Singapore'

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

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Journal articles on the topic "Music – Instruction and study (Secondary) – Singapore"

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Ng, Hoon Hong. "Enabling Popular Music Teaching in the Secondary Classroom – Singapore Teachers' Perspectives." British Journal of Music Education 35, no. 3 (March 19, 2018): 301–19. http://dx.doi.org/10.1017/s0265051717000274.

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The pervasiveness of popular music and its associated practices in current youth cultures brings into question the relevance and effectiveness of more traditional music pedagogies, and propels a search for a more current and engaging music pedagogy informed by popular music practices. With this as the basis, this study seeks to explore factors that may enable the success and effectiveness of popular music programmes in public schools through the lenses of three Singapore secondary school teachers as they conducted their popular music lessons over seven to ten weeks. In the process, the study also describes how these teachers pragmatically negotiated the execution of these programmes within Singapore's unique educational context. The findings may serve to inform music teachers and school leaders keen to establish similar programmes as a matter of on-going dialogue.
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Chesky, Kris, and Karendra Devroop. "The Effects of College Music Instruction, Gender, and Musician Type on Income from Performing Music." Medical Problems of Performing Artists 18, no. 2 (June 1, 2003): 72–77. http://dx.doi.org/10.21091/mppa.2003.2014.

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Studies in the social sciences imply a relationship between levels of employment and potential adverse effects on health. The lack of information regarding musicians makes it difficult to describe and prepare for the potential adverse relationships between musicians’ economic patterns and health. The purpose of this study was to characterize economic patterns of musicians and to investigate the relationships between income from performing music and college music instruction, age, and gender. A total of 4,017 subjects participated in an Internet-based musician survey. Data analysis included the use of descriptive statistics, analysis of covariance, and multiple regression analysis. Results support the view that many musicians hold multiple jobs and that income from music performance is often a secondary source of income. Musicians with ≥4 years of college music instruction earned higher levels of income from performing music compared with musicians with less college music instruction. This study recognizes the need to consider the economic patterns of musicians and how these patterns may affect health adversely.
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Bellés-Calvera, Lucía. "Teaching Music in English: A Content-Based Instruction Model in Secondary Education." Latin American Journal of Content & Language Integrated Learning 11, no. 1 (September 7, 2018): 109–40. http://dx.doi.org/10.5294/laclil.2018.11.1.6.

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Over the past few years, there has been a growing interest in the teaching and learning of several languages in an attempt to generate multilingual education opportunities, particularly in Europe. In response to the demands of our globalized society, Content-Based Instruction (CBI), which has also been referred to as “immersion and Content and Language Integrated Learning (CLIL) programs,” emerged as a teaching approach that combines the learning of curricular contents and the communicative competence in the target language. This study was carried out at a public high school set in a Spanish bilingual community, where music is taught through a CLIL approach in English class. The purpose of this paper is to examine how students value their music lessons in English and to check the adequacy of teaching music as a subject in English. To achieve this goal, materials adapted to their level of proficiency and a final questionnaire were designed. Results indicate that students are satisfied with this proposal, since they consider these music lessons to be easier than the regular ones. Not only did they enjoy being exposed to English in these music lessons, but a considerable number of students would also like to take a CLIL program in the near future. Pedagogical implications to this CBI model account for the development of learners’ autonomy, the use of audio-visual aids and further research in bilingual and multilingual regions overseas.
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Hartley, Linda A., and Ann M. Porter. "The Influence of Beginning Instructional Grade on String Student Enrollment, Retention, and Music Performance." Journal of Research in Music Education 56, no. 4 (January 2009): 370–84. http://dx.doi.org/10.1177/0022429408329134.

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The purpose of this study was to investigate three primary variables concerning the starting grade level of beginning string instruction in public schools: (a) initial enrollment, (b) retention data for both the end of the first year and at the seventh-grade year of instruction, and (c) music performance level in the seventh grade. Secondary variables including schedule of instruction, decision makers, grade-level organization, and private lessons also were examined. Research objectives were developed to provide string teachers with information for use when they consider the grade level of beginning instruction in their school districts. Later starting grades yielded the highest retention rates, when retention data for both the end of the initial year of instruction and the beginning of seventh grade were compared with starting grade level. The starting grade level of instruction did not, however, affect initial enrollment figures or music performance of string ensembles.
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Smith, Tawnya D., Karin S. Hendricks, Ronald P. Kos, and Andrew Goodrich. "Balancing String Instruction in an Instrumental Lab Setting: An Intrinsic Evaluative Case Study." String Research Journal 11, no. 1 (July 2021): 19–38. http://dx.doi.org/10.1177/19484992211020735.

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There is an expected increase in the need to provide adequate string-specific training for non-string specialists in the future and for preservice music teachers to develop the requisite pedagogical content knowledge to teach a variety of instruments. A multiyear instrumental lab ensemble university course was designed to help preservice music teachers integrate knowledge and skills in various instrument- and ensemble-specific areas. The purpose of this intrinsic evaluative study was to determine the extent to which the new course was successful toward these aims. Data included interviews of students and instructors, observations of lab classes, and reflective journals of teaching faculty and two external observers. Data were coded and then analyzed using the program goal statements found in the course syllabus. Findings indicated that students considered the lab format more authentic to their teacher preparation than their previous coursework, and that performance and pedagogy skills on secondary instruments elevated more rapidly than anticipated. Recommendations include the need for more explicit connection between course readings and lab activities, and improved guidelines for course teaching assistants.
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Watson, Kevin E. "The Effects of Aural Versus Notated Instructional Materials on Achievement and Self-Efficacy in Jazz Improvisation." Journal of Research in Music Education 58, no. 3 (October 2010): 240–59. http://dx.doi.org/10.1177/0022429410377115.

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The purpose of the present study was to investigate the effects of aural versus notated pedagogical materials on achievement and self-efficacy in instrumental jazz improvisation performance. A secondary purpose of this study was to investigate how achievement and self-efficacy may be related to selected experience variables. The sample for the study consisted of collegiate instrumentalists ( N = 62) enrolled as music majors at one of six Midwestern universities. All study participants received identical instructional materials but were assigned to one of two differing instructional modalities. Participants engaged in three 70-minute instructional treatment sessions over 4 days and completed pre- and postinstruction improvisation performances that were evaluated by four expert judges using the researcher-constructed Jazz Improvisation Performance Achievement Measure. Self-efficacy was measured using the researcher-constructed Jazz Improvisation Self-Efficacy Scale. Results indicated a significant ( p < .05) interaction effect for pre- to postinstruction and instructional method, with the aural instruction group demonstrating significantly greater gains than the notation group. Posttreatment achievement scores indicated nonsignificant correlations with experience variables. Participants’ self-efficacy for jazz improvisation increased significantly ( p < .001) following exposure to improvisation instruction; however, no interaction effect was found for instruction and mode of instruction.
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Eunshik Choi, Jin-Won Chung, and 신혜경. "A Comparative Study on Elementary and Secondary Music Teachers’ Perceptions and Needs with respect to Differentiated Instruction." Journal of Research in Curriculum Instruction 18, no. 1 (March 2014): 27–55. http://dx.doi.org/10.24231/rici.2014.18.1.27.

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Edward, Chamila Nishanthi, David Asirvatham, and Gapar Johar. "The Impact of Teaching Oriental Music using Blended Learning Approach: An Experimental Study." Malaysian Journal of Learning and Instruction 16, Number 1 (June 2, 2019): 81–103. http://dx.doi.org/10.32890/mjli2019.16.1.4.

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Purpose - The purpose of this experimental study is to investigate the impact of teaching Oriental Music using Blended Learning (BL) approach for the students of senior secondary level in Sri Lanka specifically focusing on their achievement on required competencies of Oriental Music at Ordinary Level. The study analyzes the academic performance of students with detailed comparison of BL environment and traditional learning environment. Authors propose the application of BL approach to teach Oriental Music and study its impact on improvement of students’ competency. The study conducted with the application of a mixed instructional design model of objectivist and constructivist approaches for the design of the blended learning course in a student centred learning environment. Methodology - The study was directed by using true experimental study design with pretest and posttest control groups. BL was applied to the experimental group and the traditional instruction method was applied to control group. 9 schools from Colombo district were randomly selected for the experimental and control groups covering all the three existing school types of Sri Lanka. The study group consisted of 360 students of Grade 10 and Grade 11 who has been studying Oriental Music as a subject for General Certificate of Education Ordinary Level. To analyze the data Descriptive statistics, Paired samples t test, Independent samples t test were utilized. Findings - The findings of the experiment indicated that students who has studied Oriental Music under BL strategy showed a significant improvement in their music academic performances after the intervention. The mean post-test of the experimental group was 71.75 which is significantly higher than the mean control group which was 52.07. The mean difference was 19.68 1.91. Hence, there is a statistically significant increase in the performance of students who studied Oriental Music under blended learning. Thus, it is clearly evident that the blended instruction was effective. Significance - This study indicated a positive platform to mould and cater the entire teaching learning process by introducing BL strategy to Sri Lankan secondary education system and fulfilled an existing research gap by utilizing BL to teach highly traditional abstract art. Results of the study contributes to the curriculum designing field with novel ideas to adapt blended instructions to teach secondary level students effectively.
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Madsen, Katia. "The Effect of Accuracy of Instruction, Teacher Delivery, and Student Attentiveness on Musicians' Evaluation of Teacher Effectiveness." Journal of Research in Music Education 51, no. 1 (April 2003): 38–50. http://dx.doi.org/10.2307/3345647.

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This study is an examination of whether accuracy and delivery of teacher instruction and student attentiveness would affect evaluative perceptions of teacher effectiveness. Participants were 168 musicians and were grouped according to experience level: (a) Grades 6–8, (b) Grades 9–12, (c) undergraduate, and (d) experienced teacher. Participants viewed and evaluated a videotape of eight teaching segments for teaching effectiveness. A two-way ANOVA with repeated measures indicated significant differences due to experience level and teaching segments. Results indicated that the secondary students rated a teacher giving inaccurate instruction relatively high when the teacher demonstrated high delivery and the class was attentive. Analysis of the descriptive data suggested that the four groups attended to the delivery of the teacher more than any other variable. Experienced teachers attended to accuracy of instruction more than did any other group, and middle schoolers attended to student attentiveness, or perceived classroom management skills of the teacher, more than did any other group.
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Ruismäki, Heikki, and Tarja Tereska. "Students' assessments of music learning experiences from kindergarten to university." British Journal of Music Education 25, no. 1 (March 2008): 23–39. http://dx.doi.org/10.1017/s026505170700770x.

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This article reports on a retrospective study of Finnish pre-service elementary teachers' assessments of their musical experiences in nursery school and elementary and secondary school and real-time study of their experiences in teacher training. The participants (N = 590) had received musical instruction in five age groups (4–6 years, 7–12 years, 13–15 years, 16–19 years, 20–25 years). The assessments were most positive in the 4–6 years group and thereafter declined until puberty in the 13–15 years group. A change in a positive direction was perceived in the 16–19 years group and also in the 20–25 years group (during teacher training). Gender differences were statistically significant except during upper secondary school. The most enjoyable activities in formal music education were singing and playing; music theory was experienced most negatively.
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Dissertations / Theses on the topic "Music – Instruction and study (Secondary) – Singapore"

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Tan, Penny Peng Leng. "Music education in the knowledge-based economy of Singapore : designing a music curriculum framework for neighbourhood secondary schools." University of Western Australia. Graduate School of Educationd%695 Electronic theses, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0240.

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Education in Singapore is seen as a key instrument to equip the next generation with resources to meet the needs of a Knowledge-Based Economy in a globalize world. The goal of this study is to develop a Music Education Curriculum Framework consistent with a Knowledge-Based Economy (KMCF) for Singapore neighborhood secondary schools. It provides the general context of music education in Singapore and conducts research to reveal the perspectives of key cross-sector stakeholders in music education, namely: The Ministry of Education (MOE) music and curriculum planning and development officers, National Institute of Education music academics, principals, general classroom music teachers and over 600 students. The curriculum framework will focus on the desirable qualities of Knowledge-Based Economy (KBE), particularly creativity, innovation, risk-taking, entrepreneurship and lifelong learning which have been strongly emphasized by the Singaporean government. In the light of their vision of thinking Schools, Learning Nation, the Ministry of Education is repositioning and reorienting the education system by implementing numerous initiatives and policies. The intention is to foster flexibility and diversity in a broad-based and holistic education, but the main focus to date has been on information technology, problem-solving and core subjects rather than on the creative aspects of the arts. By surveying students, this research aims to find out to what extent students find their music lessons satisfactory and whether their perspectives is compatible with those of other stakeholders. Students generally do not take music seriously, and the public perception is that a music career is limited to performing and teaching. The model curriculum framework will indicate further related careers, and the personal growth that comes through a genuine engagement with music. The Ministry of Education controls the school curriculum, structure of education, examinations, teacher qualifications and conditions of service. In 2005 it initiated a Teach Less, Learn More initiative which promoted student engagement. However, despite the rhetoric of classroom-based, teacher-owned and school-driven learning, it did not consult teachers or students and therefore failed as a vital learning organization which involved all participants in deciding future directions. For Senge (1994, p.13), a learning organization is a place where people are continually discovering how they create their reality. The curriculum design is an example of an example of an open system which this thesis addresses the issue of providing a structured programme flexible enough to adapt to contextual needs while providing the standards and outcomes needed in a competitive knowledge-based economy. This thesis makes its original contribution to knowledge by applying an open system model from organisational theory to a conventional music curriculum.
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Erwin, Joanne (Joanne Hall). "Stability of Secondary String Teachers' Rehearsal Behavior." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc332546/.

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The purpose was to establish the stability of behavior of secondary string teachers. The research problems were (a) to establish the frequency of selected observable elements of content and instructional strategies; (b) to estimate the stability of observed teaching behaviors within and across rehearsals; and (c) to determine the stability of pacing within and across rehearsals. In conclusion, for the population observed, stability of behavior existed. The variable of multiple conduction, not given much attention in research or pedagogical literature, weighted heavily in frequency of occurrence. Demonstration and verbal imagery, encouraged by strong experts, received less than 3% of rehearsal time. Pacing should be considered an important variable in the instructional process and merits further definition and research.
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McMillan, James F. "The curricular dysfunction between the administration of instrumental music and suitability of teaching materials in English secondary schools /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65402.

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Leung, Bo Wah School of Music &amp Music Education UNSW. "Creative Music Making in Hong Kong Secondary Schools: The Present Situation and Professional Development of Music Teachers." Awarded by:University of New South Wales. School of Music and Music Education, 2002. http://handle.unsw.edu.au/1959.4/18665.

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Present research provides strong support for the use of creative activities in school music programmes based on evidence that learning music is more effective when students are exposed to authentic, experiential learning activities, rather than verbal descriptions and explanations by the teacher. Based on this background the purpose of this study was to address the need to train music teachers with the confidence and skills necessary to incorporate creative music making in their classroom teaching. The study was divided into two phases. Phase I included a questionnaire survey that investigated the current situation of music teaching in Hong Kong secondary schools. To extend this survey three composers and three curriculum planners were invited to participate in semi-structured interviews in order to survey their opinions and suggestions on creative music making. Based on the literature review and findings from Phase I, Phase II focused on the design of a teacher education programme that would prepare teachers to undertake creative activities in their classroom music teaching. The programme was trialled twice with two groups of in-service music teachers studying at the Hong Kong Institute of Education. The trainees were asked to design their own creative projects that were taught during a four-week Teaching Practice session. Findings reveal that the most effective creative projects possessed a logical teaching sequence, addressed students???? musical preferences, and integrated listening and performing activities with the creative task. Findings suggest that Hong Kong music teachers should adopt the techniques proposed in this study when designing and implementing their teaching programmes in order to nurture the musical creativity of their students. Music teacher education programmes in Hong Kong should also consider revising their modules so that they provide more balance between theory and practice, and integrate subject-based knowledge with pedagogical skills. A major conclusion of the study is that music teaching in Hong Kong secondary schools would benefited from a balance between creating, performing and listening activities where teachers apply a student-centred approach to expose their students to active, experiential and reflective learning environments in which creative musical expression is fostered at all levels of student development.
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Higgins, Anna-Marie. "Facilitating approaches for understanding musique concrete classroom composing in secondary schools in Ireland : towards a pedagogy." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648578.

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Ng, Yuen-fun Fanny, and 吳婉芬. "The Hong Kong secondary school music curriculum: constructing marginality." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31237587.

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Learo, Norman. "Music teacher's opinions and utilization of listening activities at selected elementary and secondary English schools in Quebec." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63829.

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Lau, Kai-chi Anthony, and 劉繼智. "The cultural contents of the secondary school music curricula in Hong Kong and Taiwan: a comparative study of foursets of textbooks." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31960273.

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Devous, Donald Michael. "A financial resource guide for the beginning secondary choral music director." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Aug2006/devous%5Fdonald%5Fmichael/index.htm.

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McGregor, Michael Anthony. "Use of Gestalt principles in Kodály-based music teaching in lower secondary school : an evaluation study." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669840.

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Books on the topic "Music – Instruction and study (Secondary) – Singapore"

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Savage, Jonathan, and Jayne Price. Teaching secondary music. London: SAGE, 2012.

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Spruce, Gary. Aspects of teaching secondary music: Perspectives on practice. London: RoutledgeFalmer, 2003.

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Complete secondary choral music guide. West Nyack, N.Y: Parker Pub. Co., 1989.

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Teaching music in the secondary schools. 5th ed. Belmont, CA: Wadsworth Thomson Learning, 2001.

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Teaching music in the secondary schools. 4th ed. Belmont, Calif: Wadsworth Pub. Co., 1991.

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E, Miller Kenneth. Vocal music education: Teaching in the secondary school. Englewood Cliffs, N.J: Prentice Hall, 1988.

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Department of Education and Science. Arts education: Music. Dublin: Stationery Office, 2000.

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Thompson, Keith P. Strategies for teaching high school general music. Reston, VA: Music Educators National Conference, 1997.

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J, Kiester Gloria, and Music Educators National Conference (U.S.), eds. Strategies for teaching high school general music. Reston, VA: Music Educators National Conference, 1997.

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A century of change in music education: Historical perspectives on contemporary practice in British secondary school music. Aldershot, Hampshire: Brookfield, Vt., 2000.

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