Secondary Music Education

Índice análisis a todos los métodos que circulan entre los educadores musicales, sino que nos limitaremos solamente a algunos de ellos: los pioneros, es decir Émile Jaques-Dalcroze, Carl Orff y Zoltán Kodály, por una parte, y otros contemporáneos de éstos o apenas posteriores, como es el caso de Maurice Martenot, Edgar Willems, Shin'ichi Suzuki y el método Yamaha. No se incluirá el análisis de propuestas más recientes, como las de los compositores anglosajones que se fueron desarrollando a partir de los años 60 del siglo XX, u otras propuestas sin duda extremadamente sugerentes e interesantes.

I will attempt to summarise some of the most effective pedagogical principles for teaching Music in the secondary school context that I have come across and implemented during my school placements. I will try to look at musical learning and the best ways for learners to engage in it and at assessment in the classroom as it is crucial to know if students are making good progress in their lessons and if the teaching styles which I am using are effective in promoting growth in my subject.

This chapter explores intersections between technology, digital media, music, musicking, and education. At focus is the development of a hybrid approach that encompasses multifaceted ways that people enact musicianship in relation to and through digital media and technology. In the context of music education, a hybrid approach embraces overlaps, combinations, connections, and blurred lines among music and ways of being musical. It fosters classrooms that mix aspects of general music and ensembles; mobile devices and acoustic instruments; or musics from multiple genres, eras, and cultures. The hybrid approach discussed in this chapter situates students’ learning and musical engagement in musical inquiry and projects. This approach is flexible enough to support students’ interests in particular musical foci in a manner that resists linear, sequential, or compartmentalized forms of instruction. This chapter provides a springboard for developing and facilitating learning environments that are comprehensive in scope and rich with possibilities.

These lessons for use in the middle-school classroom are designed to be fun, engaging and to promote musical literacy. The activities focus on: Performance, Listening and Composition however each film comes with a brief synopsis and additional information about instrumentation and people of interest. These lessons have not been designed to be ‘about’ the films, but use the music from the films to enable students to learn about the music elements.
Each of the films have been organised into genres however it is important for teachers to choose the sequence that they would like to teach them in. The films can be taught in any order and have not been designed to be sequential. Teachers may choose to spend more time on certain lessons and omit others from their teaching and learning program.
Some of the films included in this text book have ratings that may not suit the age of the students. It is important to note that the lessons are designed so that the films do not have to be watched. If teachers wish to add viewing as part of the process this can of course be included but it is advised to be aware of the film rating.
Although each of the active listening activities are provided so that a mark out of 20 can be awarded, they are designed as learning tools to promote engagement during the listening process. Teachers may not wish to record the result of each listening test. When referring to the answers provided in the Teacher’s manual, the answers given should guide the teacher as to the kinds of responses to award a mark for. This should be approached with a degree of flexibility depending on the musical experience and capability of the music class.

Στην παρούσα εισήγηση ερευνάται η δυνατότητα ένταξης της μουσικής που ακούν οι έφηβοι/ες στο μάθημα της μουσικής στο Γυμνάσιο στον ελλαδικό χώρο, καθώς η σχολική μουσική εκπαίδευση στην Ελλάδα θα πρέπει να απαγκιστρωθεί από πρακτικές του παρελθόντος και να προσαρμοστεί στις ανάγκες και τα ενδιαφέροντα των σύγχρονων εφήβων. Η χρήση της μουσικής που ακούν οι έφηβοι/ες στο μάθημα της μουσικής στη δευτεροβάθμια εκπαίδευση θα κάνει τη μάθηση αποτελεσματικότερη.

Στο μάθημα της Μουσικής στη δευτεροβάθμια εκπαίδευση τα σχολικά εγχειρίδια μπορούν να χρησιμοποιηθούν ως οδηγοί και βιβλία αναφοράς. Δίνεται η δυνατότητα στον/στην εκπαιδευτικό η δυνατότητα να προσαρμοστεί το μάθημα στις ιδιαιτερότητες  και τα ενδιαφέροντα των μαθητών/τριών χωρίς όμως να είναι δεσμευτικό. Συνεπώς ο/η εκπαιδευτικός Μουσικής μπορεί να εμπλουτίσει το μάθημα με υλικό ανάλογα ή και να τροποποιήσει το μάθημα.

Στη Β’ τάξη του Γυμνασίου γίνεται λόγος για τις παραδοσιακές μουσικές της Βαλκανικής Χερσονήσου και συγκεκριμένα της Σερβίας, της Αλβανίας και της Βουλγαρίας. Στην εισήγηση αυτή γίνεται λόγος για
- τον εμπλουτισμό της συγκεκριμένης διδακτικής ενότητας με ακουστικό υλικό (παραδοσιακά τραγούδια της Αλβανίας, τα οποία έχουν κοινά στοιχεία με αντίστοιχα ελληνικά) και οπτικό υλικό (και συγκεκριμένα μουσικά βίντεο δημοφιλών τραγουδιών από την Αλβανία, Σερβία και Βουλγαρία)
- την τροποποίηση του σχεδίου μαθήματος ούτως ώστε να δίνεται μεγαλύτερη έμφαση στις παραδοσιακές μουσικές της Αλβανίας και της Βουλγαρίας.

Nastava glazbe u općeobrazovnim školama odvija se na dvjema razinama. Dakako, potpuno je razumljivo kako je jedna razina osnovnoškolska, dok je druga srednjoškolska. Kad je riječ o nastavi glazbene kulture u osnovnim školama, tada je kritička analiza ili unutarnja reforma nastavnoga plana i programa aktualna tema glazbenih pedagoga te inih stručnjaka već dugi niz godina. Uvođenjem mnogih mjera stari, “uobičajeni”, “svaštarski”, predodređeni i nedovoljno glazbeni program zamijenilo se novim, “neuobičajenim”, urednijim, otvorenijim te ispunjenijim glazbom. S druge strane, moguća značajna unutarnja reforma plana i programa glazbene umjetnosti u gimnazijskom programu vrlo je spretno odolijevala svim upućenim kritikama. Ipak, poneko izraženo nezadovoljstvo ponajprije je bilo usmjereno, također, na oveliku prisutnost verbalnoga nauštrb glazbenoga, no i na nadmoć dijakronijskoga nad sinkronijskim modelom u konceptu nastave. Ono što je ostavljeno po strani i što je uvelike marginalizirano, odnos je zastupljenosti muzikoloških i etnomuzikoloških sadržaja koji i uobličavaju nastavu glazbene umjetnosti, a već i površan pogled na nastavni plan i program ukazuje na premoć muzikoloških sadržaja. Stoga autorica istražuje način na koji se prema etnomuzikološkim sadržajima ophode oni koji ga u nastavi i predstavljaju. Kakva je uopće percepcija tih sadržaja onih kojima je on i predstavljen? Što činiti kako bi etnomuzikološki sadržaji uživali veće simpatije, na koji ih način osuvremeniti, približiti,
modernizirati?

Ključne riječi: etnomuzikološki sadržaji; glazbena umjetnost; kritika; muzikološki sadržaji

Abstract
Teaching of music as a part of general educational process takes place at two levels. Certainly, it is self-explanatory that the one level includes elementary school, and the other one
secondary school. When it comes to the elementary school, than, subsequently, critical analysis and internal reform of the curriculum represent the major and current topics of music educators and experts close to the field of music for many years. Introducing the several criterion, the old one, “conventional”, “miscellaneous”, and deterministic curriculum was replaced with new one, unconventional, precise, more open and filled with music. On the other hand, possible and significant internal reform of the curriculum of the music programme in gymnasium have resisted all the addressed criticism. However, some expressed disappointment, especially, were oriented toward, as well, predominance of the verbal instead of musical and also predominance of the synchronic over the diachronic pattern in the concept of teaching. Marginalized and somewhat less-favoured aspect is relation in between musicological and ethnomusicological contents which form the concept of teaching of music at the secondary school, and predominance of the musicological content is inevitable. Therefore, the author seeks the attitude of the teachers toward ethnomusicological contents and what is the general perception the attitude of the students, as
well: what to do to popularize ethnomusicological contents; how to modernize them?

Key words: ethnomusicological contents; music; criticism;  musicological contents

Στα πλαίσια της Εθνικής Επετείου της 28ης Οκτωβρίου διοργανώνονται υποχρεωτικά πολιτιστικές εκδηλώσεις στα σχολεία τόσο της πρωτοβάθμιας όσο και της δευτεροβάθμιας εκπαίδευσης. Οι σχολικές αυτές γιορτές έχουν σε ένα μεγάλο βαθμό τυποποιηθεί και απαξιωθεί. Στην αλλαγή της κατάστασης αυτής μπορούν να παίξουν οι εκπαιδευτικοί μουσικής διοργανώνοντας μουσικές εκδηλώσεις στα πλαίσια της σχολικής γιορτής της 28ης Οκτωβρίου. Προτείνονται, ενδεικτικά, κάποιοι θεματικοί άξονες σχετικά με τα εορταζόμενα γεγονότα και τραγούδια τα οποία θα μπορούσαν να χρησιμοποιηθούν στα πλαίσια αυτών των θεματικών αξόνων.

The specific subject matter for this directed research stems from my passion for bringing current music from around the world to secondary music education in groundbreaking ways through my innovative startup, PlayTheGroove. PlayTheGroove encompasses methodological approaches on the continuum between playing-by-ear (aural learning) and reading music. We created an adaptable framework for addressing the needs and goals of music teachers (classroom and private) and aspiring students. PlayTheGroove's results-driven framework, proven methodologies, and expanding resources for disseminating world music to classrooms, enable the profound cultural transference that can occur through being immersed in music-making. In this way, PlayTheGroove connects discussions about World Music in Music Education with the Influence on Global Cultural Diplomacy component. Cultural diplomacy is the core subject and focus area of this directed research, and I will include a few thoughts on this issue based on my findings and how they relate to PlayTheGroove. All aspects of this research, and my USC schooling, are focused on direct application to PlayTheGroove and further development of a framework to bring world musics into context with music education communities and structures, as well as supporting mutual understanding between peoples of different regions, states, and countries. Thus, PlayTheGroove spans local cultural understanding as well as global. According to Wikipedia, Cultural diplomacy is a type of public diplomacy and soft power that includes the "exchange of ideas, information, art and other aspects of culture among nations and their peoples in order to foster mutual understanding." The purpose of cultural diplomacy is for the people of a foreign nation to develop an understanding of the nation's ideals and institutions in an effort to build broad support for economic and political goals. In essence "cultural diplomacy reveals the soul of a nation," which in turn creates influence. Though often overlooked, cultural diplomacy can and does play an important role in achieving national security aims.

The process by which this report was created stems from my passion for bringing current music to secondary music education in innovative and groundbreaking ways. From a methodology point of view, while we seek approaches to balance playing-by-ear and reading music, we are developing a flexible system to work for the needs and goals of the teachers and the students. One thing we encourage is learning styles originally as they were recorded and presented through PlayTheGroove's recording of selected songs. The styles of music present today speaks to the cultural diversity of the what is found in the classroom as well as in the world we live. It's another way we can connect positively with people of other nationalities as well as connect with out classmates better because of shared musical interests and experiences. We also encourage self-interpretations of the song as a way to emphasize creativity, reflective thinking, and as a way of incorporating personal interests and musical learning into a personalized experience – for the individual and group at large.

Secondary school music curricula often alienate pupils because of the disjuncture between the latter's experiences of music outside and inside school. Moreover, music continues struggling for its place in secondary schools. With an objective of expanding music educational thinking and increasing music's relevance, parallel case studies were used to explore, among other concepts, teachers' engagement in two integrative secondary mainstream-special school musical projects. Small's concept of 'musicking' underpinned this research. In exploring the notion of an inclusive form of musicking, achieved through the musical integration of secondary mainstream and special school pupils, this paper outlines some of the hierarchical relationships in the projects influencing participating teachers' engagement. Mainstream and special school teachers' sense of self-efficacy was found to be important in enhancing or limiting the possible future application of similar integrative projects. Suggestions for augmenting teachers' self-efficacy and for future research in this under-researched field are offered.

Στην εργασία αυτή παρουσιάζεται ένα σχέδιο μαθήματος για για το μάθημα τους μουσικής στη Β' Γυμνασίου, όπου υπάρχει διαθεματική προσέγγιση με διδακτική ενότητα του μαθήματος των θρησκευτικών της Β' Γυμνασίου, η οποία αναφέρεται στον εορτασμό των Χριστουγέννων.

This study investigates the available documentation on the teaching methods and teaching content used in secondary general music classrooms in Cyprus, and explores the historical memories and opinions of the Music Inspectors who have held this position since the formalisation of music education in Cyprus. While numerous methodologies have been developed for the general music classroom, this study examines only those related to the “parameters of musical experience”. Nowadays, secondary school music teachers are divided into two groups. A minority of them are under the influence of traditionalism, whereas the majority combine teaching methods and content based on both traditionalism and progressivism, since we do not have a completely autonomous “student-centred” model. According to the findings of my research, the “student-centred” approach does not exist in Cyprus in absolute terms, and the division was greater in the past because of the music teachers’ study background.

In this chapter, I address how technology enables people to augment aspects of, blur boundaries between, and connect across musical experiences in ways that might expand conceptions of musicality, musicianship, and who might be considered a musician. I propose three such approaches to leveraging technology: augmenting music and musical engagement, augmenting musical sharing and concert experiences, and augmenting performing and ensembles. These three approaches to augmenting music teaching and learning through technology and digital media have potential to expand how music educators and their students conceptualize and enact musicianship. The chapter forwards a perspective that leveraging technology and digital media to augment music and musical engagement situates the act of connecting and identifying musical relationships as a form of musicianship and way of being a musician.

Ανδρέου Έλενα, Ζαχαροπούλου Κυριακή (υπό δημοσίευση, Πρακτικά συνεδρίου «Oι Τέχνες στο ελληνικό σχολείο: παρόν και μέλλον» Αθήνα, 11, 12, 13 Οκτωβρίου 2018) ΠΑΡΟΥΣΙΑΣΗ ΤΟΥ ΝΕΟΥ ΠΡΟΓΡΑΜΜΑΤΟΣ ΣΠΟΥΔΩΝ ΤΗΣ ΜΟΥΣΙΚΗΣ ΑΓΩΓΗΣ ΤΗΣ Β΄ΛΥΚΕΙΟΥ Εισαγωγή Η αναγκαιότητα ενσωμάτωσης του μαθήματος της μουσικής στη σχολική εκπαίδευση έχει αναγνωριστεί ευρέως από την αρχαιότητα μέχρι σήμερα. i Χαρακτηριστικά, ο σπουδαίος μουσικοπαιδαγωγός Bennett Reimer παρατηρεί ότι η μουσική προσφέρει «γνωστικές εμπειρίες με νόημα μη διαθέσιμες με άλλο τρόπο» (1989, σ. 28), ii επομένως η θέση της κρίνεται απαραίτητη στο πρόγραμμα σπουδών του σχολείου, παράλληλα με τις άλλες τέχνες. Ωστόσο, το μάθημα της μουσικής δεν αντιμετωπίζεται ως ισότιμο με άλλα φαινομενικά πιο σημαντικά μαθήματα. iii Στο ελληνικό σχολείο το μάθημα της μουσικής περιορίζεται σε μία ώρα εβδομαδιαίως στη βαθμίδα του Δημοτικού και του Γυμνασίου, στο δε Γενικό Λύκειο διατίθενται δύο ώρες κατ' επιλογή στην τάξη της Α' Λυκείου στα πλαίσια του μαθήματος της Καλλιτεχνικής Παιδείας. Στην παρούσα εισήγηση θα παρουσιαστεί το νέο Πρόγραμμα Σπουδών (Π.Σ.) που εκπονήθηκε μετά από πρόσκληση του Ινστιτούτου Εκπαιδευτικής Πολιτικής (Ι.Ε.Π.) για την αναμόρφωση ή/και εκπόνηση Προγραμμάτων Σπουδών και τυχόν συμπληρωματικού εκπαιδευτικού υλικού στο θεματικό πεδίο της Μουσικής Δευτεροβάθμιας Εκπαίδευσης του Γενικού Λυκείου. Αποτέλεσμα της επιλογής των συγγραφέων ως εμπειρογνωμόνων ήταν η δημιουργία ενός νέου Π.Σ. με πρόθεση την εισαγωγή για πρώτη φορά του μαθήματος της Μουσικής Αγωγής στην τάξη της Β' Γενικού Λυκείου.

Teaching of music as a part of general educational process takes place at two levels. Certainly, it is self-explanatory that the one level includes elementary school, and the other one secondary school. When it comes to the elementary school, than, subsequently, critical analysis and internal reform of the curriculum represent the major and current topics of music educators and experts close to the field of music for many years. Introducing the several criterion, the old one, “conventional”, “miscellaneous”, and deterministic curriculum was replaced with new one, unconventional, precise, more open and filled with music. On the other hand, possible and significant internal reform of the curriculum of the music programme in gymnasium have resisted all the addressed criticism. However, some expressed disappointment, especially, were oriented toward, as well, predominance of the verbal instead of musical and also predominance of the synchronic over the diachronic patern in the concept of teaching. Marginalized and somewhat less-favoured aspect is relaon in between musicological and ethnomusicological contents which  form the concept of teaching of music at the secondary school, and predominance of the musicological content is inevitable. Therefore, the author seeks the attitude of the teachers toward ethnomusicological contents and what is the general perception the attitude of the students, as well: what to do to popularize ethnomusicological contents; how to modernize them?
Key words: ethnomusicological contents; music; criticism; musicological contents

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Abstract Although there are many choices for teachers who are considering music technology in the classroom, care has to be taken not to be swayed by novelty value alone. What is required is software that can be linked directly to children's maturation as ...

This article focuses on a recently implemented general music curriculum in secondary public schools, whose main goal is to address social issues in Costa Rica. The author describes and discusses its context, rationale, theoretical tenets, and proposed practices 
with the purpose of advancing theory-practice reflection on music education practices within a geographical and cultural context—concerns congruent with the second, third, and seventh action ideals of the MayDay Group, but seldom addressed by conventional scholarship.

his paper analyzes the concept of ‘periphery’ and its implication in the musical curriculum in primary and secondary education. Although the educational system has organized the musical curriculum focusing on the music products of Western Tradition, attempts have been made in order to introduce music from the periphery (World Music, popular genres and folk traditions). But ‘the periphery concept’ needs to be reconsidered: to what extent can Western Tradition be considered as central to teenagers now? And moreover, how can we introduce a critical perspective on the implications of considering some music as peripheral? We have developed our research in two different educative levels: a sampling in pupils from several Primary and Secondary School in Andalusia (Spain), whose universe is full of musical experiences, but not necessary the same in which the curriculum is focused.

Abstract Although there are many choices for teachers who are considering music technology in the classroom, care has to be taken not to be swayed by novelty value alone. What is required is software that can be linked directly to children's maturation as ...