A ‘fourth moment’ for music education? A response to Chris Philpott's sociological critique of music curriculum change

McPhail, Graham

doi:10.1017/s0265051715000091

Cited by 7 publications

(7 citation statements)

References 43 publications

(96 reference statements)

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“…In short, through bypassing meaning as the most powerful knowledge, we are less likely to focus on understanding how music is made and its complicit role in injustices of the past and present. Indeed, the transcendence of McPhail's (2016) powerful knowledge would appear to put it beyond this analysis, and what is seemingly a democratic discourse is unlikely to become an emancipatory one.…”

Section: Social Realismmentioning

confidence: 99%

“…By way of example, the New Zealand music educator Graham McPhail (2016McPhail ( , 2018 argues that there exists powerful musical knowledge that is independent of the social, political and individual. Social realists in education typically argue for some level of transcendence and universality accrued by the evolution of disciplinary knowledge, and it is worth quoting McPhail (2016: 54) in full on this point: 'What is required for education is a flexibly evolving "canon" based on judgemental rationality rather than relativistic preferences, that teachers use to guide students to a critical awareness of the musicing judged most compelling within given musical practices, genres, styles, and cultures.'…”

Section: Social Realismmentioning

confidence: 99%

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What does it mean to decolonise the school music curriculum?

Philpott

2022

Lond. Rev. Educ.

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In many ways the school music curriculum has become increasingly diverse since the 1970s. For example, ‘pop’ and ‘world’ musics have been listed in UK curricula and syllabuses with an aim of becoming more inclusive. However, this article argues that such approaches to curriculum as content have confounded social justice in school music, and in particular when perpetuating a prejudicial discourse. To understand this discourse, three ‘distortions’ of the material nature of musical knowledge are explored as potential sources of ongoing student alienation from school music: reification, hegemonic appropriation and the loss of meaning. These distortions are also exemplified through a case study critique of social realism and the UK government’s Model Music Curriculum. By way of conclusion, and as a possible resolution to the distortions, some characteristics of a curriculum as process are proposed that have implications for decolonisation and wider issues of social justice, such as class and gender.

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Section: Social Realismmentioning

confidence: 99%

Section: Social Realismmentioning

confidence: 99%

What does it mean to decolonise the school music curriculum?

Philpott

2022

Lond. Rev. Educ.

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“…2 A figura 2 apresenta por temas a distribuição dos trabalhos que fazem uso da teoria de Bernstein. DAVIES, 2017;ALIAKBARI;ALLAHMORADI, 2014;DANZIG, 1990;APPLE, 1992), Currículo (ROSSI;KIRK, 2020;WHEELAHAN;MOODIE, 2021;POUNTNEY;MCPHAIL, 2016;LEAT;REID, 2012) e Práticas educacionais (BARRETT, 2017;GEIRSDÓTTIR, 2018;SOUTHGATE;AGGLETON, 2017;LOUGHLAND;SRIPRAKASH, 2016;RASMUSSEN;ANDREASEN, 2016;SADOVNIK, 1991).…”

Section: Críticas a Bernsteinunclassified

“…A Figura 5, a seguir, apresenta essa distribuição. A grande maioria das pesquisas faz uso da dimensão da especialização para analisar o Currículo, tendo por finalidade estudar as estruturas e transições epistemológicas, assim como o desenvolvimento e problemas curriculares (WINBERG, et al, 2019;KELLY-LAUBSCHER;LUCKETT, 2016;HUNMA, 2014;MCPHAIL;MCNEILL, 2019;MOUTON, 2020;CARROLL, 2020;ELLERY, 2017). A formação de professores também tem sido estudada por meio dessa dimensão no que diz respeito à formação inicial e ao profissionalismo docente (RUSZNYAK, 2018;PORTMAN;ABU RASS, 2019;JACKSON, 2016).…”

Section: Maton Considera O Legado Deixado Por Esse Autor Mas Se Desaf...unclassified

Perguntas em Aulas de Química: Identificação, Caracterização e Análise da Apropriação da Dimensão Epistêmica da Química

Silva

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Dedico esta dissertação a DEUS, por tudo o que tem me permitido e a minha avó, Arlinda Lopes (in memoriam), pelos ensinamentos e exemplo de vida. AGRADECIMENTOSEm cada passo dado, cada etapa concluída, cada estágio avançado em mim, só cresce a percepção de que nada conseguiria sozinho. Agradecer é o ato mais sublime de uma pessoa, este ato nos faz reconhecermo-nos como necessitados, necessitados de ajuda, de atenção, de orientação, de conselhos, de afagos, enfim, de apoio. Mostra-nos também como somos capazes de reconhecer estas nossas necessidades e de perceber a importância de todos aqueles que conseguiram suprir nossas necessidades. Uma trajetória desta, de muita luta e superação, não se faz sozinho, e por isso agradeço.Por todas as bênçãos e força cotidiana, agradeço a DEUS, a vida tem sido um presente Dele, percebo a cada dia que sou escolhido e muito abençoado por Ti. Obrigado, Meu Deus, por tantas coisas maravilhosas. Não posso esquecer da presença de Mãe em minha vida, presença que foi um presente do Pai, Nossa Senhora cobrindo-me com seu manto em todos os momentos da minha vida.Agradeço à minha família. À minha mãe, Eliete, que, além de progenitora, foi um braço forte, especialmente durante esses períodos de formação. Aos meus irmãos, em especial à minha irmã, Cleide, que foi para mim uma segunda mãe e, desde o início, foi uma das pessoas que mais acreditaram em mim, o meu muito obrigado. Enfim, agradeço a todos os meus familiares (tios, primos, sobrinhos etc.) que me apoiaram.Sou grato pelas amizades que, nesse caminhar, foram mais que amigos, foram amparo, compartilhamento e cumplicidade. Agradeço à Aiala e à Gisele por serem presentes desta caminhada.Agradeço à USP e à CAPES pela oportunidade e investimento em minha formação, ao

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“…The discussion around the political and moral influence on a curriculum includes an ongoing concern about the overall coherence of the knowledge that is included in the curriculum (Wood & Sheehan, 2012). Both internationally (Muller, 2022;Schmidt et al, 2005) and in New Zealand (McPhail, 2022b;Rata, 2021), scholars have perceived a lack of curriculum 'coherence' growing over the last 30 years. Much of the literature discusses the perceived problem based on curricula reducing the influence of disciplinary knowledge and moving away from having specific content.…”

Section: Political and Social Influences On Curriculummentioning

confidence: 99%

No longer optional: The Infusion of Digital Technology in Praxical Secondary School Music Education

Emo

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In the last 30 years, digital technology has changed music making. These changes have been studied in the context of music education. The majority of the research predates the major technological shifts that have occurred in the last five years (e.g. browser-based Digital Audio Workstations) and the impact of online teaching through the Covid-19 pandemic. Studies have focused on the relationships between teacher beliefs at the introductory or integration phase of digital technology. It has not been determined how secondary school classroom music teachers in New Zealand conceptualize music education in light of the country's unique curriculum and assessment framework. Neither is there any recent empirical research internationally that provides insights into the relationship and influence of teacher beliefs with their experience and practice of digital technologies in the classroom. Additionally, previous empirical studies with digital technology have been limited by being narrow in their sample size, only sampling advanced users of digital technology or with pre-service teachers.This thesis explores the landscape of music education in the digital age, focusing on the examining of the experience, practices, and beliefs of secondary school music teachers in New Zealand with the goal of attaining the essence of their experience as a combined cohort. The methodological approach uses a transcendental phenomenology lens, drawing on Husserlian phenomenology. The two-part mixed methods study includes the administering of a new Music Education Digital Technology (MEDT) survey tool nationwide to an estimated 40% of the secondary school music teaching cohort followed by six case studies. The research outcomes reveal three key findings that contribute to the understanding of the experience of secondary school music teachers with digital technology into music education.The first research outcome highlights that the participating teachers are praxicalists, the most recent iteration of the education theory of praxialism, as developed by Regelski. Contrary to expectations of curriculum incoherence, the findings illustrate a coherent approach through the interconnected pillars of praxicalism, namely techné, poiesis, phronēsis, and theoria. The study identifies the flexibility of the national curriculum (NZC) and assessment framework (NCEA) in New Zealand in providing autonomy for teachers in their curriculum decisions. The second research outcome emphasizes how the classroom reflects current music praxis. In making their curriculum decisions, the music teachers strive to incorporate a pluralistic approach to what music genres are included, challenging the dichotomy between Western Art Music (WAM) and popular/contemporary or electronic music that is present in previous studies. Within the context of how genres are included, the study reveals that teachers are informed by how musicians create music, and seek to primarily draw from students' experiences, minimizing the boundary between in-school and out-of-school music. This approach addresses the longstanding problem of a mismatch between school music and external music praxis. Additionally, the study highlights the significance of recognizing students as already knowledgeable contributors to music praxes outside the classroom.The third research outcome identifies teachers as teaching experts rather than knowledge or digital technology experts. The participating teachers, despite lacking expertise in specific musical genres or digital technology, confidently integrate diverse music praxes into their curricula. The interaction between techné and phronesis underpins their decision-making, enabling a student-centred curriculum design.Overarching across these three outcomes, is how digital technology is infused in music, and this requires a different way of thinking about music education. The identification of infusion of digital technology in music making is a major finding not currently present in the empirical research internationally.The study proposes six areas for future research, including future use of the MEDT survey tool in New Zealand and overseas, exploration of the impact of ongoing curriculum and assessment changes, investigation into teachers' perceptions of negative effects of digital technology, examination of the relationship between self-efficacy and mindset, consideration of students' perspectives, and a global perspective on the study findings.While acknowledging limitations such as a small sample size and geographical context, this study has implications for both music teachers and policymakers. It advocates for a student-centred approach, emphasizing the importance of strong curriculum-making skills and maintaining trust and autonomy for teachers in the digital age. The study's implications extend beyond New Zealand, offering insights for policymakers in other nations undergoing curriculum and assessment revisions.

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A ‘fourth moment’ for music education? A response to Chris Philpott's sociological critique of music curriculum change

Cited by 7 publications

References 43 publications

What does it mean to decolonise the school music curriculum?

What does it mean to decolonise the school music curriculum?

Perguntas em Aulas de Química: Identificação, Caracterização e Análise da Apropriação da Dimensão Epistêmica da Química

No longer optional: The Infusion of Digital Technology in Praxical Secondary School Music Education

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