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The landscape of music education in the UK is constantly shifting and developing. This book provides a timely and unique overview of this restless sector by considering the achievements of music education, analysing its current performance and setting out aspirations for the future. Music Education in the 21st Century in the United Kingdomaddresses the power of music to influence and change human behavior, analyzes current and future issues in music education and casts a spotlight on particular areas of education, including early years, the primary school, the secondary school, further education, universities and conservatories, music services, the music studio and the role of music leaders and community musicians. Written by experts in the field of music education, the book provides an authoritative account of the current status of music education in the UK. While essential to understand the current and future context in the UK, the book will be invaluable to those involved in music education internationally, as it includes chapters on the provision of music education for all children, listening, the role of singing, playing an instrument, creativity, the role of technology, issues of performance and assessment, learning through the lifespan and the initial and ongoing education of music teachers. It also includes a range of case study examples and evaluations of practice. The book is a landmark publication in the field of music education and will be essential reading for policy-makers, practitioners, music students, trainee music teachers and those who provide music services in the UK and internationally.
In this book, the contributors reconsider the fundamentals of Music as a university discipline by engaging with the questions: What should university study of music consist of? Are there any aspects, repertoires, pieces, composers and musicians that we want all students to know about? Are there any skills that we expect them to be able to master? How can we guarantee the relevance, rigour and cohesiveness of our curriculum? What is specific to higher education in music and what does it mean now and for the future? The book addresses many of the challenges students and teachers face in current higher education; indeed, the majority of today’s music students undoubtedly encounter a greater diversity of musical traditions and critical approaches to their study as well as a wider set of skills than their forebears. Welcome as these developments may be, they pose some risks too: more material cannot be added to the curriculum without either sacrificing depth for breadth or making much of it optional. The former provides students with a superficial and deceptive familiarity with a wide range of subject matter, but without the analytical skills and intellectual discipline required to truly master any of it. The latter easily results in a fragmentation of knowledge and skills, without a realistic opportunity for students to draw meaningful connections and arrive at a synthesis. The authors, Music academics from the University of Glasgow, provide case studies from their own extensive experience, which are complemented by an Afterword from Nicholas Cook, 1684 Professor of Music at the University of Cambridge. Together, they examine what students can and should learn about and from music and what skills and knowledge music graduates could or should possess in order to operate successfully in professional and public life. Coupled with these considerations are reflections on music’s social function and universities’ role in public life, concluding with the conviction that a university education in music is more than a personal investment in one’s future; it contributes to the public good.
Music is an expression of feelings of the soul conveyed through the medium of sound. But not all sounds are music. It might be said that only an organised sound or series of sounds can be called music. Thus, music is connected to the eternal and constant flow and order of the universe, to the laws and rhythms of nature. It can also be said that musical order is comparable to the natural order of the universe. There are laws of a certain nature in the natural sciences and likewise in music there are structures and procedures, or even rules, that should be followed to produce beautiful music. The International Conference "Innovations for 21st Century Music Education and Research" provided a timely opportunity to take stock of the latest developments in music education and brought together educators, researchers and members of the broader community in a welcoming forum in which they were able to express theoretical and practical views, concepts, research results and principles to help support the further development of music education.
The teaching and learning of music around the world have evolved in diverse ways as social, industrial, and cultural developments have influenced the ways humans understand, organize, and collectivize music education. Revolutions in Music Education: Historical and Social Explorations chronicles major changes in music education that continue to shape practices in the twenty-first century. The contributors investigate the organizational, pedagogical, and strategic approaches to teaching music across the ages. The universality of music is manifest in the chapters of this book, providing meaning and insight from all geographic, socio-political, and economic contexts.
Music as a Science of Mankind offers a philosophical and historical perspective on the intellectual representation of music in British eighteenth-century culture. A particularly rich field of investigation, developed between the seventeenth and eighteenth centuries, was the British philosophy of the mind and of human understanding which looked at music and found in its realm a way of understanding human experience. Maria Semi sheds light on how these reflections moved towards a Science of Music: the discipline that was later to be known as 'musicology'.
Compassionate Music Teaching provides a framework for music teaching in the 21st century by outlining qualities, skills, and approaches to meet the needs of a unique and increasingly diverse generation of students. The text focuses on how six qualities of compassion (trust, empathy, patience, inclusion, community, and authentic connection) have made an impact in human lives, and how these qualities might relate to the practices of caring and committed music teachers. This book bridges the worlds of research and practice, discussing cutting-edge topics while also offering practical strategies that can be used immediately in music studios and classrooms. Each chapter is addressed from multiple perspectives, including: research in music, education, psychology, sociology, and related fields; insights from various students and teachers across the United States; and an in-depth study of five music teachers who represent a broad range of genres, student ages, and pedagogical approaches. The book is dedicated to exploring those conditions that help students not only to learn, but also to grow, thrive, and freely express—and become compassionate musicians, teachers, performers, and people as well.
The Sage Handbook of School Music Education stands as an essential guide for navigating the evolving educational landscape in the wake of the 2008 financial crisis and the transformative impact of the COVID-19 pandemic. The handbook addresses philosophical foundations, social justice challenges, the envisioning of a transformative curriculum, and critical issues in music teacher education. Written by a diverse team of leading scholars, this handbook offers a truly global perspective with contributors from Africa, Asia, Australasia, Europe, and North and South America. The handbook engages with the profound interplay of economic, political, and social forces that shape educational policies. Scholars within this collaborative work delve into what it means to educate in a world undergoing significant changes. This entails an exploration of emerging educational approaches, considerations for societal implications, and the interconnectedness of school music education with broader curricular and global contexts. As a cohesive resource, The Sage Handbook of School Music Education not only addresses the challenges faced by educators but also envisions the transformative potential of music education in fostering creativity, inclusivity, and adaptability. This handbook serves as a compass for students, practitioners and scholars in the field, and all those passionate about navigating the complexities of redefining music education for a new era. Part 1: Foundations Part 2: Struggling for Social Justice Through Music Education Part 3: Curriculum Development Part 4: Teacher Education
Popular music is a growing presence in education, formal and otherwise, from primary school to postgraduate study. Programmes, courses and modules in popular music studies, popular music performance, songwriting and areas of music technology are becoming commonplace across higher education. Additionally, specialist pop/rock/jazz graded exam syllabi, such as RockSchool and Trinity Rock and Pop, have emerged in recent years, meaning that it is now possible for school leavers in some countries to meet university entry requirements having studied only popular music. In the context of teacher education, classroom teachers and music-specialists alike are becoming increasingly empowered to introduce popular music into their classrooms. At present, research in Popular Music Education lies at the fringes of the fields of music education, ethnomusicology, community music, cultural studies and popular music studies. The Routledge Research Companion to Popular Music Education is the first book-length publication that brings together a diverse range of scholarship in this emerging field. Perspectives include the historical, sociological, pedagogical, musicological, axiological, reflexive, critical, philosophical and ideological.
The Oxford Handbook of Music Making and Leisure presents myriad ways for reconsidering and refocusing attention back on the rich, exciting, and emotionally charged ways in which people of all ages make time for making music. Looking beyond the obvious, this handbook asks readers to consider anew, "What might we see when we think of music making as leisure?"