The music curriculum as ‘received’ by children: Evidence from Cyprus primary schools

Stavrou, Natassa Economidou

doi:10.1017/s0265051706006929

Cited by 7 publications

(16 citation statements)

References 6 publications

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“…Despite the fact that 'student voice' in teaching and learning appears regularly in discourses in education, there is still a relatively small body of music education literature. Some studies have underlined that in curriculum design, development and implementation processes, it is important to keep in mind who the learners are, what their needs are, their preferences and the experiences they bring with them in the music classroom (Barrett, 2005;Economidou Stavrou, 2006;Economidou Stavrou, 2015;Philpott & Wright, 2012;Westerlund, 2008). What often happens in practice is that it is taken for granted that as the choice of the curriculum content is a responsibility of a group of experts, every student will accept it as remarkable, interesting, important and useful (Economidou Stavrou, 2009;Regelski, 1999).…”

Section: Students' Voice In Music Educationmentioning

confidence: 99%

“…Literature has identified an emergent need to make a stronger connection between school music curricula and the lived musical experiences of the students and their own values of Music education so that Music as a school subject is more relevant to students (Arostegui, 2016;Barrett, 2005;De Vries, 2010;Economidou Stavrou, 2006;Green, 2008;Kokotsaki, 2016a;Lowe, 2011;Philpott & Wright, 2012). Students' musical tastes and preferences and acknowledgement of their aspirations should also play a key role in selecting lesson content and focus, in order to ensure their interest, enthusiasm and active participation (Economidou Stavrou, 2006;Griffin, 2009Griffin, , 2011Ho, 2015;McPhail, 2013;Vincente-Nicolas & Mac Ruairc, 2014;Westerlund, 2008).…”

Section: Students' Voice In Music Educationmentioning

confidence: 99%

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‘Turn up the volume and listen to my voice’: Students’ perceptions of Music in school

Stavrou

Papageorgi

2020

Research Studies in Music Education

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Music teachers are often faced with students’ negative attitudes towards Music as a school subject, and dilemmas of what would be most important to teach and at the same time interesting, useful and relevant to students. Looking at music teaching and learning through the eyes of students can play a key role in re-shaping the condition of learning and promoting a positive and motivating musical learning environment. The aim of this study was to ‘turn up the volume’ of secondary students’ views of their music lessons in secondary school, including what they value and how they would have liked lessons to be if they had the opportunity to change things. A self-report questionnaire was devised for the purposes of the study and was administered to 749 secondary school students in schools in Cyprus. Our findings reveal that participants enjoyed Μusic, ranking it as their second favourite out of 15 secondary school subjects. However, there was a reported discrepancy between the activities students are engaged with and what they would like to be engaged with. Students called for more focus on singing, to play a greater variety of instruments besides the recorder (i.e., drums, guitar and piano) and to play the music they like. Building on students’ perspectives, recommendations are made for music teachers and policy makers.

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Section: Students' Voice In Music Educationmentioning

confidence: 99%

Section: Students' Voice In Music Educationmentioning

confidence: 99%

‘Turn up the volume and listen to my voice’: Students’ perceptions of Music in school

Stavrou

Papageorgi

2020

Research Studies in Music Education

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“…Research in the areas of informal music learning (Barrett, 2006;Dzansi, 2004;, comprehending childhood within social and cultural constructions (Barrett, 2003), music in homes and community (Jones, 2006;Lamont, Hargreaves, Marshall, & Tarrant, 2003), popular culture (Green, 2006), social justice (Jorgensen, 2003(Jorgensen, , 2007 and reconceptualizing school music curricula (Barrett & Smigiel, 2007;Economidou Stavrou, 2006;Lum, 2008) have all helped to inform the need for continued in-depth study of children's music experiences. These writings provide support for research that focuses on exploring the multiple layers of children's daily experiences of music.…”

Section: Connecting With Literaturementioning

confidence: 99%

Listening to children’s music perspectives: in- and out-of-school thoughts

Griffin

2009

Research Studies in Music Education

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A B S T R A C T Findings are presented from a three-month, two-phase study inquiring into the music experiences of 20 Grade 2/3 children (seven to eight year olds), both in-and out-of-school. The article highlights the music experiences of three children who were drawn from the group of 20. Situated within the theoretical underpinnings of social constructionism, experience and attentive listening, a framework of ethnography and narrative inquiry was utilized to create and interpret fictionalized narratives crafted in the form of ongoing dialogues between the researcher and participants. The children's tales offered insightful understandings relating to the influences that shape children's music experiences. Conversations indicated a recognizable lack of interplay of music experiences between in-and out-of-school. These tales reveal possibilities for how music educators may re/conceptualize ways in which children's voices may be centrally embedded within elementary music curricula. K E Y W O R D S : children's music-making, children's music perspectives, elementary music curriculum, in-and out-of-school experiences, narrative inquiry Personal beginningsFrom the time I was a little girl, I always remember being around music. I recall my mother singing to me as I rocked upon her knee and hearing my father whistle in the yard as he went about his farming chores. At the age of 5, I began step-dancing lessons and at the age of 6, I enrolled in piano lessons. There were countless hours of practice as I would turn on the stereo and tap my feet on the piece of plywood on the living room floor or tinkle my little fingers on the ivories of our piano in the dining room. (Griffin, 2002, pp. 2-3) As I began to formulate my research inquiry of understanding how a group of 20 Grade 2/3 children (seven to eight year olds) experienced music in their daily lives, both in-and out-of-school, I was intrigued to recollect some of my personal childhood experiences of music. Thus, my article opens with a fragment of writing that shapes the beginnings of my first recollections of the presence of music in my life. Hale Hankins (1998) noted the importance of acknowledging personal experiences in order to claim a voice in the research when she explained that, 'events remembered at AMS/Girona Library on

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“…In addition to the seminal studies described, it is encouraging to see a continued body of literature developing regarding inquiring into children's music experiences. This prominent topic within the context of music education is contextualized through the writings of Lamont et al (2003), M. Barrett (2003Barrett ( , 2006, Jorgensen (2003Jorgensen ( , 2007, Economidou Stavrou (2006), Green (2006), Jones (2006), Campbell and Lum (2007), Lum and Campbell (2007), M. Barrett and Smigiel (2007), Smith (2005Smith ( , 2008, Lum (2008), M. Barrett and Stauffer (2009), and Gould, Countryman, Morton, and Stewart Rose (2009). Such scholarship reflects the increased interest in discussing how the musical lives of children play out within the context of music education.…”

Section: Contemplating Groundings In Literaturementioning

confidence: 99%

Inquiring Into Children’s Music Experiences: Groundings in Literature

Griffin

2010

Update: Applications of Research in Music Education

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Highlighting various seminal studies in music education provides grounding for the necessity of connecting children’s school music experiences with their daily lived music experiences. Allowing children to make more seamless connections between these two contexts heightens the possibility of creating increasingly meaningful school music experiences. The review of literature in children’s nonguided music experiences and ethnographic-centered research contextualizes this prominent issue within the field of music education. Such research affirms the importance of attending to children’s experiences as a means of comprehending how children’s perspectives may be a central catalyst in shaping elementary school music curricula. The varied literature showed the clear need for continued inquiry within the field of music education that investigates children’s music experiences in their daily lives.

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The music curriculum as ‘received’ by children: Evidence from Cyprus primary schools

Cited by 7 publications

References 6 publications

‘Turn up the volume and listen to my voice’: Students’ perceptions of Music in school

‘Turn up the volume and listen to my voice’: Students’ perceptions of Music in school

Listening to children’s music perspectives: in- and out-of-school thoughts

Inquiring Into Children’s Music Experiences: Groundings in Literature

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