Educational Change and the Secondary School Music Curriculum in Aotearoa New Zealand provides a fascinating case study in educational change. The music curriculum has been greatly affected by deep cultural and economic forces such as the growth of popular music's importance in young people's lives, by demands for inclusive and multicultural education, and not least by advances in technology that promise to invigorate all aspects of teaching and learning. This book brings together the work of a number of leading music education scholars and teachers from Aotearoa/New Zealand to both explore these issues and to share case studies of practice: both the positive changes and the unintended consequences. Each chapter focuses on a current issue in music education and the final chapter contains responses from a number of practitioners to the issues raised by the authors, drawing together the practical and theoretical dimensions of the book.
Why is classical music predominantly the preserve of the white middle classes? Contemporary associations between classical music and social class remain underexplored, with classical music primarily studied as a text rather than as a practice until recent years. In order to answer this question, this book outlines a new approach for a socio-cultural analysis of classical music, asking how musical institutions, practices, and aesthetics are shaped by wider conditions of economic inequality, and how music might enable and entrench such inequalities or work against them. This approach is put into practice through a richly detailed ethnography which locates classical music within one of the cultures that produces it - middle-class English youth - and foregrounds classical music as bodily practice of control and restraint. Drawing on the author's own background as a classical musician, this closely observed account examines youth orchestra and youth choir rehearsals as a space where young people learn the unspoken rules of this culture of weighty tradition and gendered control. It highlights how the middle-classes' habitual roles - boundary drawing around their protected spaces and reproducing their privilege through education - can be traced within the everyday spaces of classical music. These practices are camouflaged, however, by the ideology of 'autonomous art' that classical music carries. Rather than solely examining the social relations around the music, the book demonstrates how this reproductive work is facilitated by its very aesthetic, of 'controlled excitement', 'getting it right', precision, and detail. This book is of particular interest at the present moment, thanks to the worldwide proliferation of El Sistema-inspired programmes which teach classical music to children in disadvantaged areas. While such schemes demonstrate a resurgence in defending the value of classical music, there has been a lack of debate over the ways in which its socio-cultural heritage shapes its conventions today. This book locates these contestations within contemporary debates on class, gender and whiteness, making visible what is at stake in such programmes.
A great motivational book for students who want to enter for grade 1 but need to take a few more steps up before they are ready. This book contains a selection of all of the types of test found in a real grade 1 exam: 9 pieces (choose 3 to learn); scales and broken chords, sight reading, aural tests, theory.There is even a mark sheet and a certificate included, to be signed by the teacher once the Pre Grade 1 test has been passed! With these easy steps the student will fly up to grade 1 in no time and get lots of rewards along the way.There are three levels to choose from: Bronze, Silver and Gold. Each book contains material that is easier than Grade 1 so helps students to prepare for the real exam in easy stages. The tunes in the book are: Aura Lee Lavender's Blue Lightly Row Musette (Bach) Ode to Joy (Beethoven) Lullaby (Brahms) Land of the Silver Birch My Bonnie Lies Over the Ocean She'll be Comin' Round the Mountain
Online Learning in Music: Foundations, Frameworks, and Practices offers fresh insights into the growth of online learning in music, perspectives on theoretical models for design and development of online courses, principles for good practice in online education, and an agenda for future research. Author Judith Bowman provides a complete overview of online education in music, including guidelines and accreditation standards for online instruction as well as a look at current research on online learning in music. She also explores several theoretical models for online course design, development, and implementation, before presenting a creative approach to online course design, both for fully online and also for blended courses. As a whole, the book challenges stereotypical views of professors as "sage on the stage" or "guide on the side," characterizing the online professor instead as Director of Learning. Necessary reading for all who work in online learning in music, it also suggests important ways both to prevent problems and also to resolve those that do arise.