Developing An All School Model For Elementary Integrative Music Learning

The purpose of this study was to investigate the potential for increasing informal music-making in elementary school culture, and create a model of such music-making. Precedence for this model can be found in the literature of ethnomusicology, educational psychology and learning theory, multicultural music education, and cultural anthropology. Literature from four distinct traditions and contexts of music-making in integrative sociocultural contexts-sub-Saharan African ngoma, and Community Music as manifested in New Orleans second lines, old-time music and dance, and summer camp music-making-was parsed with a philosophical lens to determine and assess possible areas of intersection between these four participatory cultures and North American public school culture. Each of these five areas was examined through a comprehensive review of literature to define their salient characteristics. These characteristics were sorted to determine commonalities between areas, and the zones of intersection became the basis for a speculative model of integrative music learning, featuring the inclusion of musical opportunities and interludes throughout the school day, thus taking school music beyond the confines of the music room. Instruction in music classes would still continue, enhanced in this model by supplemental learning opportunities inspired by the informal learning of traditional world musics, the participatory practice of New Orleans second line parades, old-time music and dance, and summer camp music culture. This model of integrative learning is also informed by current educational best practices such as child-centered learning, peer tutoring, experiential learning, and multicultural perspectives. It acknowledges the diversity of traditions consulted, while aiming for the unity in their seemingly disparate disciplines. Five universal characteristics were uncovered in the search for areas of intersection between North American elementary school culture, child culture, ngoma music-making, and Community Music-style music-making in New Orleans, old-time music and dance, and summer camp contexts: (a) Song; (b) play; (c) informal learning, as evidenced by oral tradition, peer tutoring, self-learning; (d) kinesthetic learning; and (e) contextualized learning, as evidenced in the sociocultural uses of music and situated learning. This model strives for the enactment of school music as a vital and integral part of daily school culture.

"Teaching Elementary Music presents the pre-service teacher with a vast tool-box of contemporary approaches to effectively meet the academic and social needs of today's students. Music education concepts are presented using clear, relevant, and practical strategies that can be implemented immediately into today's classroom." --From cover.

Informative, educational and compelling, "Scientifically Grounded School of Primary Musical Upbringing and Education of Children" reveals a myriad of eye-opening ways to teach a child musical instruments, whilst developing his interest through optimizing the teaching process. Written by John Andrew Stevens, this compilation shares a groundbreaking vision wherein a child sees a musical school as a place of joy and fun, regardless of the child's initial musical inclinations. In this compelling piece, John Andrew Stevens introduces his innovative, scientific discovery which ensures that children will receive the optimum level of musical education, thus following some custom-fit goals that are suitable for their age. The materials for the school system identified by Stevens are divided into five different parts and are integrated based on the dynamics of the child's growth and development. A boon to all teachers and musical school administrations, this book elucidates the holistic science of music education, which involves high-level patterns of training and theoretical principles that support the cognitive levels of the children. It is also very helpful for researcher specialists and the scientists working in the area of musical education and youth. Finally, the ones who can remarkably benefit from this book are the children, themselves, who are fascinated by music and are enthusiastic about exploring the field of music.

This book has two purposes: To open up the debate on the role of informal education in schooling systems and to suggest the kind of school organizational environment that can best facilitate the recognition of informal learning. Successive chapters explore what is often seen as a duality between informal and formal learning. This duality is particularly so because education systems expend so much time and effort in certifying formal knowledge often expressed in school subjects reflecting academic disciplines.Recognizing the contribution informal learning can make to young people’s understanding and development does not negate the importance of valued social knowledge: That complements it. Students come to school with knowledge learnt from their families, peers, the community and both traditional and social media. They should not have to "unlearn" this in order to enter the world of formal learning. Rather, students’ different learning "worlds" should be integrated so that each informs the other. In a knowledge-based society, all learning needs to be valued. Some contributors to this book reflect on how new educational systems could be created in a move away from top-down authoritarian and bureaucratic management. Such open systems are seen to be more welcoming in acknowledging the importance of informal learning. Others provide practical examples of how informal learning is currently recognized. Some attention is also paid to the evaluation of informal learning. A key objective of the work presented here is to stimulate debate about the role of informal learning in knowledge-based societies and to stimulate thinking about the kind of reforms needed to create more open and more democratic school learning environments.

Music Learning as Youth Development explores how music education programs can contribute to young people’s social, emotional, cognitive, and artistic capacities in the context of life-long musical development. International scholars argue that MLYD programs should focus in particular on the curiosity, energy and views of young people affecting the teachers, musicians, pedagogy, programs, and music with which young people interact. From fields of progressive music education, authors share their perspectives on approaches that can lead to new ways of enabling youth learners as they transition to adulthood. A vast range of possible outcomes arising from in-school, afterschool, and community-based music programs are examined in order to highlight the aspects of youth development that music learning is particularly well-suited to support. Following an introductory essay that provides new perspectives on pursuing lifelong musical development, the volume is features two primary sections. The first focuses on case studies exploring several programs through the lens of the transitional stages of music learning as youth development, helping the reader understand key concepts and explore challenges for creating music learning as youth development programs. The second section addresses the broad implications and policy issues of programs described, including discussing why music learning should be conceived of as critical to formative stages of youth development that can lead to a productive and fulfilling life. The conclusion synthesizes the range of perspectives provided by eight contributors and offers implications for life-long human development through music in the 21st century.

The breadth of this work will allow the reader to acquire a comprehensive and panoramic picture of the nature of innovation within a single handbook.

Children are inherently musical. They respond to music and learn through music. Music expresses children's identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children's natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I'm working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts?This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children's lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.