Educational Change and the Secondary School Music Curriculum in Aotearoa New Zealand

McPhail, Graham; Thorpe, Vicki; Wise, Stuart

doi:10.4324/9781315109602

2018

DOI: 10.4324/9781315109602

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Educational Change and the Secondary School Music Curriculum in Aotearoa New Zealand

Graham McPhail¹,

Vicki Thorpe²,

Stuart Wise³

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Cited by 6 publications

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“…Advancements in digital technology (DT) are providing new ways to promote engagement and wider participation in music learning (Crawford, 2017). DT can offer contemporary approaches for creating, performing, and responding to music (Savage, 2017;Webster, 2015) and support learning in music classrooms in authentic and relevant ways (Crawford, 2014;Wise, 2018). Technologies typically used for instrumental learning include software for recording, repertoire selection, and note learning (Zhukov, 2015).…”

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Digital Listening Tools to Facilitate Children’s Self-Regulation of Instrumental Music Practice

Wan

Crawford

Jenkins

2022

Journal of Research in Music Education

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In this study, we explored the ways in which listening tools within technology-mediated environments can facilitate children’s self-regulation of instrumental music learning between lessons. This interpretive multiple case study utilized a software application assigned for 22 weeks to a piano teacher and four students (ages 8–10). Data sources include student and teacher semistructured interviews and practice session observations. Self-regulated learning theory informed the recommended learning approach with technology and provided a lens for within- and cross-case thematic analysis. Study findings suggest that digital tools that provide accessible and customizable listening experiences can be used strategically to promote independent listening opportunities between lessons, in turn facilitating processes of aural familiarity and problem-solving. However, students’ self-regulatory development was also dependent on learning preferences and sustained teacher facilitation. The recommendations in this study can inform instrumental teachers about pedagogical approaches with technology, and the implications can contribute to the design of digital environments to support children’s instrumental learning.

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mentioning

confidence: 99%

Digital Listening Tools to Facilitate Children’s Self-Regulation of Instrumental Music Practice

Wan

Crawford

Jenkins

2022

Journal of Research in Music Education

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Reflections on New Zealand music education through the lens of Swanwick and Tillman’s model of musical development

Thorpe

McPhail

2022

Brit. J. Music. Ed.

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In this paper, we provide a reflection upon the influence of the Swanwick–Tillman (ST) model (1986) from the perspectives of music research in Aotearoa New Zealand. In this paper we take stock of where music education in New Zealand currently sits in relation to the Swanwick Tillman theory of musical development. We examine the strengths and the weakness of the model 35 years on to ask what it might still offer music educators in a context where issues of culture and colonisation have taken centre stage. We also reflect upon the impact of a visit to New Zealand by Keith Swanwick in 1989. Despite the postmodern or colonial critiques we might make now, we consider if the model may still signify a holistic way of conceiving music development and might still have implications for curriculum design and curriculum making in the 21st century.

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Secondary school arts teachers’ practice autonomy perceptions in New Zealand and England

Thorpe

Kinsella

2020

Journal of Curriculum Studies

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is a senior lecturer in education, specialising in secondary school music education and initial teacher education. A former secondary school teacher and in-service teacher-educator, her research interests include secondary school curriculum, the relationship between creativity and assessment, and teacher identity.Dr Victoria Kinsella is senior research fellow in education researching arts education and creativity. She has worked on a number of creative arts research projects in various contexts including schools, prisons, galleries, arts centres and with educational agencies. Her research interests include creativity, partnership and assessment. Secondary school arts teachers' perceptions of their practice autonomy in New Zealand and England.New Zealand has its educational roots in 19 th and 20 th century British educational systems with close similarities between English and New Zealand secondary school education structures. In the last two decades, however, secondary school education in both countries has experienced multiple and sometimes radical reforms. Educational policy has diverged markedly at times. In this article, we present the findings of research into the professional autonomy of 15 secondary school music, art and drama teachers from England and New Zealand. The aim was to explore whether educational policy impacts arts teaching practice, and to what extent teachers in both countries believe themselves to be professionally autonomous. Findings suggest despite similarities between jurisdictions, England teachers report a highly performative regime that restricts, governs and isolates them and the subject in school. This contrasts a progressive, even permissive, professional environment where the New Zealand teachers believe their students' needs come first and feel primarily accountable to their local and disciplinary communities.

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Educational Change and the Secondary School Music Curriculum in Aotearoa New Zealand

Cited by 6 publications

References 0 publications

Digital Listening Tools to Facilitate Children’s Self-Regulation of Instrumental Music Practice

Digital Listening Tools to Facilitate Children’s Self-Regulation of Instrumental Music Practice

Reflections on New Zealand music education through the lens of Swanwick and Tillman’s model of musical development

Secondary school arts teachers’ practice autonomy perceptions in New Zealand and England

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