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High quality music education can start children on a journey that lasts a lifetime. This book gives beginning primary school teachers clear guidance on how to successfully teach music without recourse to specialised training. It places music within the wider context of the primary curriculum with clear links to the new National Curriculum in England. It also offers advice on how to provide evidence for and assess musical development and how to plan for music education across the EYFS and key stages 1 & 2. Useful information on using the musical resources in your local community to enhance the opportunities offered to your school is also provided. This is essential reading for all students studying primary music on initial teacher education courses, including undergraduate (BEd, BA with QTS), postgraduate (PGCE, School Direct, SCITT), and also NQTs. Alison Daubney is a music educator, researcher and curriculum adviser at the University of Sussex.
Offering a brand new approach to teaching music in the primary classroom, Teaching Music Creatively provides training and qualified teachers with a comprehensive understanding of how to effectively deliver a creative music curriculum. Exploring research-informed teaching ideas, diverse practices and approaches to music teaching, the authors offer well-tested strategies for developing children’s musical creativity, knowledge, skills and understanding. With ground-breaking contributions from international experts in the field, this book presents a unique set of perspectives on music teaching. Key topics covered include: Creative teaching, and what it means to teach creatively; Composition, listening and notation; Spontaneous music-making; Group music and performance; The use of multimedia; Integration of music into the wider curriculum; Musical play; Cultural diversity; Assessment and planning. Packed with practical, innovative ideas for teaching music in a lively and creative way, together with the theory and background necessary to develop a comprehensive understanding of creative teaching methods, Teaching Music Creatively is an invaluable resource for undergraduate and postgraduate students in initial teacher training, practising teachers, and undergraduate students of music and education.
An essential guide for teaching and learning music with the whole class. It provides a framework for successful musical experiences with large groups of children and is illustrated throughout with carefully designed activities to try out in the classroom. The guidance in this book will help you support and develop children’s musical experience,
A comprehensive guide to music education, ensuring a solid foundation for supporting effective learning and teaching.
Teachers have often felt unnecessarily apprehensive about teaching without music without being gifted musicians themselves.Music 7-11 dispels the myth that to teach music effectively a teacher has to "be musical" and provides teachers with the opportunity of developing both the basic subject knowledge and the confidence needed to deliver enjoyable and valuable music lessons. It does this by encouraging practical engagement with the subject through making and listening to music, reflecting on experiences and sharing views.
A Field Guide to Student Teaching in Music, Second Edition, serves as a practical guide for the music education student, one that recognizes the importance of effective coursework while addressing the unique field-based aspects of the music classroom. Student teaching in music is a singular experience, presenting challenges beyond those encountered in general education classroom settings: educators must plan for singing and movement, performances and rehearsals, intensive parent involvement, uniforms, community outreach, and much more. This guide explores such topics common to all music placements as well as those specific to general, choral, and instrumental music classrooms, building on theoretical materials often covered in music methods courses and yet not beholden to any one pedagogy, thus allowing for a dynamic and flexible approach for various classroom settings. New to the second edition: Companion website featuring downloadable worksheets, résumé support, a cooperating teacher guide, and more: www.musicstudentteaching.com A new chapter on the transition from student to student teacher Expanded discussions on the interview process, including mock interviews, interviewing techniques, and online interview prep Updated content throughout to reflect current practices in the field. Leading readers through the transition from student to teacher, A Field Guide to Student Teaching in Music, Second Edition, represents a necessary update to the first edition text published a decade ago, an indispensable resource that provides the insights and skillsets students need to launch successful careers as music educators.
Children are inherently musical. They respond to music and learn through music. Music expresses children's identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children's natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I'm working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts?This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children's lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.
First Published in 2000. This book reasserts the place of the arts - dance, drama, music and the visual arts - in the primary school curriculum at Reception and Key Stages 1 and 2. It acknowledges the time constraints in a crowded curriculum and stresses a common developmental approach to the different forms of creative and aesthetic expression. The arts are presented as the vital '4th R', integrated modes of learning alongside Reading, Writing and Arithmetic, where children can absorb and express ideas, feelings and attitudes. Supported by illustrations, examples of work, a glossary of terms, appendices of addresses for resource materials and further reading, the work will stimulate and give confidence as a course textbook for student teachers and as a professional handbook for practitioners, including arts coordinators, advisory teachers and artists working in educational settings. Clear guidance is given on the development of a personal, autonomous teaching style and on evaluating and monitoring children's progression in skill acquisition, creative production and critical response.
Unlike their colleagues in music theory and music education, teachers of music history have tended not to commit their pedagogical ideas to print. This collection of essays seeks to help redress the balance, providing advice and guidance to those who teach a college-level music history or music appreciation course, be they a graduate student setting out on their teaching career, or a seasoned professor having to teach outside his or her speciality. Divided into four sections, the book covers the basic music history survey usually taken by music majors; music appreciation and introductory courses aimed at non-majors; special topic courses such as women and music, music for film and American music; and more general issues such as writing, using anthologies, and approaches to teaching in various situations. In addition to these specific areas, broader themes emerge across the essays. These include how to integrate social history and cultural context into music history teaching; the shift away from the 'classical canon'; and how to organize a course taking into consideration time constraints and the need to appeal to students from a diverse range of backgrounds. With contributions from both teachers approaching retirement and those at the start of their careers, this volume provides a spectrum of experience which will prove valuable to all teachers of music history.