The canon or the kids: Teachers and the recontextualisation of classical and popular music in the secondary school curriculum

Abstract

This article reports on some of the findings from case studies conducted with six secondary school music teachers in New Zealand. The purpose of the study was to investigate and explain the ways in which teachers manage the relationship between classical and popular music in their elective classroom programs, utilizing a theoretical framework drawn from the work of educational sociologist Basil Bernstein and more recent social realist theory. In each case, the focus of the research was the teacher and the influences on their curriculum decision-making. Students in each music department were interviewed to triangulate teacher interviews and observations. The findings indicate that a significant tension is present between the affirmation and validation of students' musical interests and pre-existing skills, and the development of the knowledge considered fundamental within the discipline. It is teachers' ability to 'find a balance' between these central concerns of their educational work that is significant in maintaining the epistemic integrity of a subject which has become strongly influenced by socio-cultural influences.

Integrating popular music and informal music learning practices: A multiple case study of secondary school music teachers enacting change in music education

“…The dominance of formal training. Most music teachers do not feel prepared to integrate popular music and its associated informal music learning practices into their classes because they did not receive specialized training in these areas (Cutietta & Brennan, 1991;Giddings, 2008;Grier, 1991;Hebert, 2011;Hebert & Campbell, 2000;McPhail, 2013). Most music teachers have experience with and are trained in formal music practices exclusively.…”

“…Tension is present when students' musical interests and skills differ from the content and skills that formally trained teachers consider fundamental to secondary school music education (Abramo & Austin, 2014;McPhail, 2013;Ruthmann, 2006). Abramo and Austin (2014) examined the perspectives of both teacher and students in a high school composition class.…”

“…The teacher in Ruthmann's (2006) study struggled to ensure that her students had theoretical understandings of music as well as aural and creative skills that are commonly associated with informal music learning practices (Ruthmann, 2006). McPhail's (2013) participants largely valued teaching Western European art music and formal music learning practices such as theoretical analysis and reading notation.…”

Bringing the Outside In

“…To address this balance, a growing number of scholars have called for research on blended models of music education that incorporate both formal and informal teaching practices and include students from both formal and informal backgrounds (Feichas;Georgii-Hemming & Westvall, 2010;Green, 2006;Isbell, 2015;McPhail, 2013;O'Flynn, 2006). We recently observed one such blended formal/informal college music ensemble that we suggest holds implications for school music education.…”

“…We use the term blended formal/informal to describe an approach that scholars (Feichas, 2010;Georgii-Hemming & Westvall, 2010;Green, 2006;Isbell, 2015;McPhail, 2013;O'Flynn, 2006) have called for that incorporates both formal and informal practices and includes students from both formal and informal backgrounds. Finally, we use the term hospitality (Higgins, 2007a(Higgins, , 2007b(Higgins, , 2012 to contextualize the kind of environment the bandleader curates for music making and learning.…”