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Dialogic Teaching In Primary School Music Education

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Music education is often pre-dominantly practical, with the focus on experiential and participatory learning styles. However, allowing space for dialogic learning and teaching will have immense benefits for individual learners and the group. Music making is a social activity and therefore, by its very nature, a collaborative experience. Creating communities of learners, or communities of practice, is an essential part of the world of music. The shared experience of music-making for both performers and listeners brings people together socially enabling dialogic learning to take place. It is important for music educators to appreciate the important role that dialogic teaching has within the community of practitioners, whether these be adults in a music group or a class of children in a music lesson. Although the activity may be focussed on the performance or music making itself, through dialogic learning the community can learn from each other and their shared experience, and also impact on others outside the community, for example the listeners. Dialogic teaching and learning is part of the journey for that community of learners, and often that learning journey is more important than a particular end product.

Considering this may lead to music educators broadening their outlook in terms of the impact their work can have on both their community of learners and wider afield. Music can be used to help break down barriers between communities and directly open dialogic discussions between different communities who may otherwise have no reason to communicate with each other. Through these dialogues more learning takes place. A simple example within school music: my school in England learnt a song in Arabic to share with a school in Palestine who had learnt a song in English. The journey of learning the songs for both communities of learners opened up many opportunities for dialogic teaching and learning within each community, and then this dialogic learning was expanded to include learning between both communities when they shared the songs on a Zoom call and got a chance to ask questions about each other’s life and culture. The importance of creating space for this dialogic teaching and learning leads to immense benefits.


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How learning is experienced - the arts/music education

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Arts education is perhaps unique in the breadth and range of teaching and learning styles and environments where children can experience the arts. Think of other curriculum areas and the mind may tend towards recollecting formal teaching styles within a traditional classroom – ‘chalk and talk’ (Schweisfurth, 2011) along with an occasional practical activity – a style which is still an everyday experience for many.

Good quality arts education is, at its heart, a ‘doing’, practical experience. In music education, many teachers aim to make curriculum lessons as musical as possible. Participatory and experiential learning is essential for the learning to be musical. Progress can be witnessed through performances or a series of recordings over time reflecting progress.

The many elements discussed about learner-centred education, and in debates around different teaching and learning styles, are already commonly demonstrated across the various settings and learning environments in which music education takes place. Non-formal music settings (for example music ensembles) are predominantly hands-on practical group music making activities with many associated benefits through participation. Informal music making happens in many homes, for example with friends showing each other how to play instruments or creating music together. Formal settings, with their set curriculum to follow, have to balance the skills already acquired by children in their class with the necessity of teaching new knowledge (knowledge about, knowledge of how, knowledge of music – Philpott 2007) in a variety of ways.

Focussing on one teaching and learning method may well lead to a narrowing of experience or even an unmusical one. Even with a good motivation, aiming to incorporate the power of pupil voice, like Learner-Centred Education (Schweisfurth, 2015), does have the danger of, albeit sounding good in theory, leading to an unmusical non-learning experience. ‘Let’s all let the children choose what music they want to learn, create a band, work in groups then perform to each other’. This may sound idealistic and relevant to the children’s experience but, if not handled very carefully, can, for example, lead to children singing songs completely inappropriate to their vocal range, potentially damaging their voice or simply sung badly, or a group working together to form a band without the relevant experience to play it well therefore not making musical progress through the experience and become disheartened.  

There is not one right or wrong teaching and learning style that is suitable in music education but to ensure the experience is positive, musical and meaningful some key questions should be asked: Will this be a musical experience? What musical learning is taking place through this process? Is this helping the children make music progress? Is the experience helping the children gain key skills useful for their future?

A couple of questions that are worth exploring:

In what ways can the student voice be heard in a meaningful way in formal curriculum music education?

How can arts education help develop a ‘world-centred education’ (Biesta, 2021) for the children?

References

Biesta, G. (2017) ‘Letting Art Teach – Art Education ‘After’ Joseph Beuys’. Art EZ Press, Amsterdam.

Biesta, G. (2021) ‘World-Centred Education. A View for the Present.’ Abingdon, Routledge.

Philpott, C. (2007) ‘Musical Learning and Musical Development’ in Philpott, C. and Spruce, G. Learning to Teach Music in The Secondary School. A Companion to School Experience, Abingdon, Routledge.

Schweisfurth, M. (2011) ‘Learner-centred education in developing country contexts: from solution to problem?’, International Journal of Education and Development, vol. 31, no. 5, pp. 419–26.

Schweisfurth, M. (2015) ‘Learner-centred pedagogy: towards a post-2015 agenda for teaching and learning’, International Journal of Educational Development, vol. 40, pp. 259–66. Available at: https://www-sciencedirect-com.libezproxy.open.ac.uk/ science/ article/ pii/ S0738059314001084 (Accessed: 22 October 2021).


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Assessment in primary school music – beware of Excel spreadsheets

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Assessment spreadsheets are very popular in some schools, giving quantifiable data to track children’s progress throughout their time in school. They can be made even more exciting when they are colour-coded leading to the possibility that the most artistic element of arts education within that setting is the Excel document itself. In Year 1, child x could sing a minor third; in Year 2 they were singing songs with six notes etc. Assessment takes place in the final week of every half term during the end of topic assessment lesson. This document can be safely stored on the system, ready for Ofsted or the leadership team to look at without the children even being aware it exists. Job done – assessment complete albeit a time-consuming process and taking up one-sixth of curriculum time.

This style of assessment in music education has little or no impact on progress and, quite often, is not musical. Far more beneficial, and indeed what Ofsted would be looking for, would be a series of recordings demonstrating the children’s work over time which also shows the musical progress the children have made. For example, listen to how well these children were pitch-matching a minor third at the start of Year 1 – beautiful singing. Now look at this – the same children at the end of Year 2. Hear how well they have progressed with their singing. The children can listen and compare their progress too.

Comparative recordings demonstrating the musical progress the children have made over time is exactly the kind of assessment information that Ofsted are looking for. Listening back to their own and their peers work will enable the children to give feedback to others, reflect on their own work and progress, and improve their own musicality.  

(Clarification of what Ofsted are looking for in inspections and Deep Dives in music has been received in several public talks over the last couple of years by Mark Phillips HMI, Ofsted’s National Lead for Music such as ‘What effective music education looks like’ Available at  https://www.youtube.com/watch?v=AMaUHh2sGr4&ab_channel=Ofstednews (Accessed 7 October 2021.))


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Integrating Education for Sustainable Development into Music Education

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Edited by Jonathan Harris, Tuesday, 6 Apr 2021, 16:45

An interdisciplinary approach is required for Education for Sustainable Development (ESD) to truly impact on education and create a sustainable future. Two strands of ESD are knowledge and understanding of the issues, and the development of the key skills, or competencies, to instigate positive change locally and globally. The UN Sustainable Development Goals (2015) set out the issues at hand. The SDG Quality Education, target 4.7, encapsulates what should be the essence of ESD, promoting sustainable development alongside issues such as human rights, equality, peace, diversity and global citizenship. ESD should therefore include the development of an understanding of these issues alongside equipping communities, including learning communities, with the skills required to bring about a sustainable future for all.  Embedding ESD into the heart of education is the key to implementing the SDGs and thereby critical for ensuring a sustainable future.

Moves within arts education to reflect the sustainability agenda are increasing but music education is lagging behind in this area (Østergaard, 2019). Prominent voices within music education advocate for the place of music within the curriculum and focus on its subject-knowledge but there is little advocacy for the role music can play in developing and promoting an understanding of SDG issues and also the relationship between the skills commonly developed in music education and those competencies seen as necessary for a sustainable future.

Music education naturally lends itself to a variety of learning styles; both acquisitional and participatory learning (Sfard, 1998) form part of good quality music education. The skills associated with dialogic, experiential and participatory learning can all be developed through music education. UNESCO’s (2017) eight competencies, seen as important for future sustainability, can be developed, directly and indirectly, through delivery of the music curriculum. Indeed, many aspects of The OECD PISA global competence framework (2016) can be experienced through engagement with music.

Lyfta’s (2021) educational resources link directly to understanding SDG issues; their Awra Amba and Secrets of the Opera storyworlds highlight, amongst others, equality and inclusivity issues with natural links to music education (Harris, 2020). Music performances are often an important part of the public face of a school; these can be shared locally and internationally to help the development of respect and cultural appreciation. The British Council’s (2021) requirement for participants on their Connecting Classroom programme to link partnership work with SDGs epitomizes ESD and suits the sharing of cultures. Global Science Opera (2021) takes an SDG-based science topic (currently the UN Decade of Ecosystem Restoration) for children to create and perform an opera annually through international collaboration and participation (Harris, 2021). Such international collaboration between teaching communities and children, founded on ESD ideals, brings about the cognitive, socio-emotional and behavioural learning outcomes that will help achieve the outcomes sought in the SDGs to aid the creation of a sustainable future.

Music education has the potential to embed education for sustainable development into its curriculum and ethos, and to become a leading example of holistic education fit for the 21st century.   

 

References

British Council (2021) Home, Connecting Classrooms through Global Learning. Available at https://connecting-classrooms.britishcouncil.org/ (Accessed 31 March 2021).

Global Science Opera (2021) Home. Available at http://globalscienceopera.com/  (Accessed 31 March 2021).

Harris, J. (2020) Blog No. 17. Enhancing Global Music Education With Lyfta. [Online] Available at: https://www.lyfta.com/blog-storage/2020/5/1/global-music-lyfta (Accessed 31 March 2021).

Harris, J. (2021) GSO and the key drivers of education. [Online] Available at: https://globalscienceopera.com/news/ 28 January (Accessed 31 March 2021).

Lyfta (2021) Home. [Online] Available at: https://www.lyfta.com/ (Accessed 31 March 2021).

Organisation for Economic Co-operation (OECD), (2016). Global competency for an inclusive world, [Online]. Available at: https://www.oecd.org/pisa/aboutpisa/Global-competency-for-an-inclusive-world.pdf. (Accessed 31 March 2021).

Østergaard, E. (2019) Music and sustainability education–a contradiction? Acta Didactica Norge13(2), pp.2-20. Available at:  https://journals.uio.no/index.php/adno/article/download/6452/6032 (Accessed 30 March 2021).

Sfard, A. (1998) ‘On two metaphors for learning and the dangers of choosing only one’, Educational Researcher, vol. 27, no. 2, pp. 4–13.

UNESCO (2017) Education for Sustainable Development Goals: Learning Objectives, [Online]. Available at: https://unesdoc.unesco.org/ark:/48223/pf0000247444 (Accessed: 30 March 2021).

UN Sustainable Development Goals (2015) Goals, [Online]. Available at https://www.un.org/sustainabledevelopment/sustainable-development-goals/ (Accessed 30 March 2021).

 


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The Role And Purpose Of Education

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There are many roles education plays but preparing children for resilience and endurance, and equipping them with the skills, understanding and knowledge they require to lead secure and prosperous lives are key. Encouraging and developing creativity, mental strength and confidence are crucial, and developing a deep understanding and appreciation of the challenges faced in daily life, locally, nationally and globally is vital for individuals and society as a whole.

I am a keen advocate of global learning and see this as something that should be an essential and integral part of the education systems across the world. As a teacher within the arts, I am interested in exploring ways in which arts education can be linked to global learning and help bring about change in the lives of individuals and in the approach to life that these children and communities take.

Local and international co-operation on joint goals such as the United Nations’ seventeen Sustainable Development Goals would be one way forward to establish links and shared aspirations that could then be shared and worked on in various ways. This is the approach the British Council takes through their Connection Classrooms programme which I am involved with. Through this I have been working on sharing SDG related work as joint activities between our partnership with a school in Palestine and a school in India (I work at the primary school in Milton Keynes). Children in all three schools seem to thrive on these relationships and learning about each other’s lives and work on these shared subjects and they can be easily integrated in the curriculum in many ways.


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