‘It’s music and we came to play instruments’: teaching for engagement in classroom music

Abstract

I am grateful to many people, without whom this thesis would not have been possible.My heartfelt thanks to my supervisors Associate Professor Neryl Jeanneret and Dr Robert Brown for their endless kindness, patience, and encouragement. Music teachers often speak of the music teacher who inspires them and I have learnt so much from Neryl about how to be a better scholar and teacher. I could not have asked for a more generous or more knowledgeable principal supervisor.To the teachers, "Eddie" and "Chris", thankyou for sharing your teaching with me and welcoming me into your classrooms. You are both such wonderful and inspiring teachers, your students are lucky to have you, and working with you was an absolute privilege. And thankyou also to the students who were so welcoming and friendly.I have had so much support and encouragement from so many people. I would like to thank my PhD friends Alicia, Sarah, Jenni H, and Ethel. My music education colleagues Jen S-B, Andrew, and Sue. My arts education colleagues Marnee, Jenny A, Jane, and

Exploring the potential of informal music learning in a perceived age of pedagogical traditionalism for student teachers in primary music education

“…Being 'seen' to facilitate quality pupil output would be a key priority in adhering to policy and fulfilling their role as a teacher. This finding indicates some similarity to Wilson's (2022) article, expressing perceived dissonance with policy.…”

“…Positive findings were again reported, including enhanced student attitudes towards music learning and increased musical and extra-musical skill development. Wilson (2022) similarly drew upon a wider IL and MF approach for her research in an Australian context in primary and secondary schools. Attention was drawn to the complexities of student engagement when facilitating an IL and MF approach within various school contexts, highlighting aspects of perceived tension with policy.…”

“…The underpinning rationale for this decision stems from previous observation that it can become questionable to what extent various adaptations of IL become misconceptions or a different pedagogy altogether over time (Mariguddi, 2021, Wang & McPhail, 2023. Thus, the methodology departed from previous research that has drawn more explicitly upon adapted resources and approaches already developed by MF for the primary context (e.g., Moore, 2019;Wilson, 2022;Gubbins, 2023). We intended for our HE adaptations to stem directly from Green's (2002Green's ( , 2008 underpinning research, akin to Finney & Philpott's (2010) approach.…”

Musical Futures in New Zealand: A study in recontextualisation

“…Central to the original MF project were Green's informal learning principles (Green, 2002). These principles and the pedagogica approach developed to realise them in the classroom (the 'seven stages' -see Green (2008) and Green and Walmsley (n.d.)) was Green's response to long-standing problems with school music in the UK and elsewhere (Green, 2008;Mariguddi, 2021;McQueen, 2022;Ross, 1995;Wilson, 2022).…”

Strengthening Music Learning at SMKN

“…One high school in Australia engaged teachers and students in music classes in creative music making. The class workshop emphasized fun improvisation while aiming to increase motivation (Wilson, 2022). Ensembles are also able to foster social skills for children.…”