Preface PART 1 INTRODUCTION 1 The power of music: its impact on the intellectual, personal and social development of children and young people by Susan Hallam 2 Contextualising music education in the UK by Pauline Adams, Hilary McQueen and Susan Hallam PART 2 CURRENT ISSUES IN MUSIC EDUCATION 3 Music for all by Graham Welch and Adam Ockelford 4 Listening by Susan Hallam 5 The role of singing by Jo Saunders, Maria Varvarigou and Graham Welch 6 Learning to play an instrument by Susan Hallam and Andrea Creech 7 Creativity by Susan Hallam and Lynne Rogers 8 The role of technology by Evangelos Himonides and Ross Purves 9 Issues of assessment and performance by Ioulia Papageorgi and Susan Hallam 10 Learning through life by Hilary McQueen and Maria Varvarigou 11 The initial and ongoing education of music teachers by Colin Durrant and Kate Laurence PART 3 CONTEXTS OF LEARNING 12 Music in the early years by Andrea Creech and Jessica Ellison 13 Music in the primary school by Jessica Ellison and Andrea Creech 14 Music in the secondary school by Hilary McQueen and Susan Hallam 15 Music in further education colleges by John Conlon and Lynne Rogers 16 Music in universities at conservatoires by Helena Gaunt and Ioulia Papageorgi 17 Music Services by Lynne Rogers and Susan Hallam 18 The music studio by Andrea Creech 19 The role of music leaders and community musicians by Andrea Creech 20 Where now? by Susan Hallam and Andrea Creech
The transformational power of music education is illuminated throughout every page of this remarkable book. The authors vividly illuminate its wide-ranging position in society, constantly challenging the reader with new insights that relate to both the art and science of music-making. In a society that increasingly values visual stimulus and instant gratification, music can sometimes seem peripheral and little more than ornamental. In reality it has the capability to change lives, an inspirational message communicated here with passion and conviction. A virtuoso and aspirational achievement! -- Professor Colin Lawson Royal College of Music As a reader from abroad, I found this collection to be a major achievement for music education in the United Kingdom. The United States and its music education leadership has much to learn from the chapters in this book. It shows not only how our two cultures struggle with the same fascinating challenges for music teaching and learning but also how we can be inspired to work for reform. Books like this are vital for all interested in the future of music education here and around the world. -- Peter R. Webster Northwestern University Based on excellent summaries which link research and theory with exemplars of teaching and learning practices in music education in the United Kingdom, this book presents a great starting point for new entrants to the profession as well as a valuable source of reflection for more experienced colleagues. -- Dr Pamela Burnard University of Cambridge This is an indispensible book for all those involved in music education. It gives a comprehensive overview and explores and analyses the current state of music education in the UK in the twenty-first century. -- Dr Martin Fautley Birmingham City University I think the book is excellent, an essential companion for anyone in music education, whether they are a trainer, teacher or manager. At this time of significant change I believe music education provides an excellent tool to help us plan and develop future learning opportunities. -- Mr Peter Chivers National Association of Music Educators (NAME)
Professor Susan Hallam is Professor of Education at the Institute of Education, University of London and currently Dean of the Faculty of Policy and Society. She pursued careers as both a professional musician and a music educator before completing her psychology studies and becoming an academic in 1991. Dr Andrea Creech has extensive experience as a professional musician, music teacher and researcher. She currently is Lecturer in Education at the Institute of Education, University of London and Associate Lecturer (psychology) for the Open University. Previously she has held principal positions in orchestras in the UK and Canada and subsequently was founder and director of a Community Music School in the Republic of Ireland. Pauline Adams is lecturer in Music Education, teaching on the PGCE and Master's Music Education courses at the Institute of Education, University of London. She started her career teaching in inner London schools and for some years acted in an advisory role for the Inner London Education Authority. John Conlon has over 28 years experience working within the post-compulsory education sector in a range of contexts including arts, community, theatre and adult, further and higher education. He co-initiated and became director of operations for Creative Partnerships, a GBP120 million government-funded creativity in schools programme. John is currently the pathway leader for the pre-service, post-compulsory PGCE at the Institute of Education, University of London. Dr Colin Durrant leads the postgraduate programme in Music Education at the Institute of Education, University of London and is conductor of the University of London Chamber Choir and Imperial College Choir. He has a wide range of choral conducting and teaching experience and is principal tutor for the Association of British Choral Directors' conducting courses in London. He designed and developed a postgraduate programme in Choral Education, the first of its kind in the UK. Jessica Ellison is an Australian-trained primary teacher with vast experience as a music specialist. She worked in both the public and private sectors, before joining a local authority Music Service where she was responsible for individual, whole class instrumental, and curriculum music lessons. She teaches on the Master's level music specialism course on the PGCE at the Institute of Education, University of London. Dr Helena Gaunt is the Assistant Principal (Research and Academic Development) at the Guildhall School of Music and Drama in London, and a National Teaching Fellow (2009). Her current research focuses on one-to-one and small group tuition in conservatoires, orchestral musicians in the twenty-first century and the role of improvisation (verbal and musical) in developing professional expertise. Dr Evangelos Himonides holds the University of London's first ever Lecturer in Music Technology Education position. He teaches music education, music technology and information technology, at a post-graduate level, at the Institute of Education, University of London, and also leads the post-graduate course, 'Music Technology in Education'. Kate Laurence is subject leader for the Music PGCE programme at the Institute of Education, University of London. She began her professional life as a music teacher in inner London and was Director of Music and an Advanced Skills Teacher before entering teacher education. She has held professional and advisory roles with the Specialist Schools and Academies Trust, the BBC and for Sibelius Software Ltd. Kate currently leads a number of national CPD courses for music teachers. Dr Hilary McQueen studied music at Edinburgh University and trained as a teacher at St Luke's College of Education, Exeter. She has taught class music and singing, and continues to teach piano and music theory. She was head of psychology in two institutions, taught child development for Open University, and now combines teaching and research at the Institute of Education, University of London. Professor Adam Ockelford is Professor of Music at Roehampton University. While attending the Royal Academic of Music in London, Adam started working with children with special needs, and he became interested in how we all intuitively make sense of music. Adam pursued this line of enquiry, and completed a PhD in which he set out his 'zygonic' theory of musical understanding. Dr Ioulia Papageorgi has been a Lecturer and Coordinating Research Officer in the Department of Arts and Humanities, the Department of Psychology and Human Development and the Doctoral School at the Institute of Education, University of London, since 2006. She has also been an Associate Lecturer at the Open University in the UK since 2009. Her research interests focus on the development of expertise, the psychology of performance and performance anxiety. Ross Purves is Course Manager for A level Music Technology and BTEC Music at Luton Sixth Form College, where he also teaches A Level Music and jazz improvisation. He has worked as a researcher on a series of projects in the School of Arts and Humanities at the Institute of Education, University of London, and at the University of Roehampton, funded by the Economic and Social Research Council (ESRC), Youth Music and the Department for Education and Skills (DfES), among others. Dr Lynne Rogers is Senior Lecturer in Teacher Education Post-14 Sector at the Institute of Education, University of London. She is the Director of the London Centre for Excellence in Teacher Training (LONCETT) and the Faculty Director of Initial Teacher Education. She has undertaken extensive research in relation to behaviour in school; disaffection from school, including the role of alternative curricula; learning, studying and homework in adolescents; and issue relating to music education. Dr Jo Saunders is responsible for the coordination of various strands of the research evaluation of the UK government's National Singing Programme 'Sing Up' (2007-2011) at the Institute of Education, University of London. Dr Maria Varvarigou has been performing as a solo singer, oboist and chorister for many years. She is currently working as a researcher at an ESRC-funded project on promoting social engagement and well-being in older people through community supported participation in musical activities, and as lecturer on a module on choral conducting education at the Institute of Education, University of London. Professor Graham Welch holds the Established Chair of Music Education at the Institute of Education, University of London, and is Deputy Dean of the Faculty of Culture and Pedagogy. He is elected Chair of the internationally based SEMPRE, President of ISME and past Co-Chair of the Research Commission of ISME. Publications number over 260 and embrace musical development and music education, teacher education, singing and voice science, and music in special education and disability.
... an important book, arriving at a critical moment for the future of music education in our state schools. -- Bette Gray-Fow * Classroom Music * To say that the book is timely is to understate. The book is both accessible and scholarly wise, and will serve as a rich resource for at least some part of the twenty-first century. -- John Finney * Music Teacher Magazine * Received 4 out of 5 stars -- Toby Deller * Classical Music * This book plays a key role in sharing good practice from different sectors. I would urge you to read the chapters that fall out-side your particular areas of expertise most closely. -- Jonathan Savage * British Educational Research Journal, 37:5 * ...the chapters on 'The role of singing' and 'The initial and ongoing education of music teachers' are thought-provoking...Nearly all chapters have suggestions for further reading, for websites of interest, and for all chapters there are full references to texts and research cited in the body of the chapter. -- Sue Anderson * Singing: Voice of the Association of Teachers of Singing (Issue 60) * ...is obviously incredibly diverse and ... very effectively reflects this situation. The book is unusual in attempting to cover such a breath of content and provides a valuable starting point for reading , particularly to those who are new to the field. -- Julie Evans * The British Journal of Music Education (28:2) *