- Page 1 and 2: National Review of School Music Edu
- Page 3: Foreword The Hon Dr Brendan Nelson,
- Page 6 and 7: Quality teaching is a key Effective
- Page 8 and 9: viii NATIONAL REVIEW OF SCHOOL MUSI
- Page 10 and 11: • The accessibility, equity and s
- Page 12 and 13: The National Survey of Schools had
- Page 14 and 15: have identifiable gifts and talents
- Page 16 and 17: Access and equity leading to partic
- Page 20 and 21: Support Services for Music Educatio
- Page 22 and 23: Support Services for Music Educatio
- Page 24 and 25: Facilitating effective music in sch
- Page 26 and 27: Facilitating effective music in sch
- Page 28 and 29: Quality and status are inter-connec
- Page 30 and 31: Detailed contents Part 1 Introducti
- Page 32 and 33: D.1 Review team....................
- Page 35 and 36: Part 1 Introduction 1.1 Purpose of
- Page 37: • Parents; • Musicians and thos
- Page 40 and 41: 2.1 Review of national and internat
- Page 42 and 43: The transition from primary to seco
- Page 44 and 45: Colwell (1997) has summed up the va
- Page 46 and 47: ‘[p]rogression in the arts is thu
- Page 48 and 49: consultants who provided follow-up
- Page 50 and 51: Orff’s main aim was to stimulate
- Page 52 and 53: contexts have historical and cultur
- Page 54 and 55: Organisational approaches to instru
- Page 56 and 57: • cost of hiring or purchasing in
- Page 58 and 59: music to young people’s lived exp
- Page 60 and 61: Opportunities Pilot Project (Youth
- Page 62 and 63: Torres Strait Island schools from a
- Page 64 and 65: in Australia ‘recognise the abili
- Page 66 and 67: preferences of girls and boys. Adol
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As musicians are increasingly calle
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• The accessibility, equity and s
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Table 1: Research questions and cor
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Part 3 A Snapshot of School Music E
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continued to develop and use K-10 s
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The AMEB has also produced syllabi
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Do Australian music curriculum docu
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Table 3: Instrumental and vocal mus
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45,000 40,000 35,000 30,000 25,000
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3.4 Summary of trends from the subm
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indicating that they held a tertiar
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Faced with a funding a sporting or
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Governments of all political persua
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Professional development for teache
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My school currently does not offer
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Form of education Of the Sample Sch
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Teaching There was little differenc
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Teachers The most consistent factor
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orientation. Continuity of teaching
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class group placed special demands
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It is good allowing anyone to join
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Question What the Review found abou
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Associated with teacher education t
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Part 4 Guidelines for Effective Mus
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4.1 Guidelines for student learning
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Aesthetic Understanding Listening a
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Aesthetic Understanding Listening a
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Aesthetic Understanding Listening a
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Aesthetic Understanding Listening a
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Guidelines for Student Learning Lea
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Guidelines for Systems and Sectors
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4.3 Guidelines for teachers and cla
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Professional relationships Guidelin
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Guidelines for Teachers and Classro
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Guidelines for the broader communit
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Part 5 Issues, challenges, and oppo
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general ‘arts’ outcomes - and,
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disappeared from the radar. In some
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Strategic direction R.2 To ensure e
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developmental approach to music edu
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working with ensembles and working
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Strategic direction R.4 To improve
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Strategic direction R.5 To ensure t
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This Review did not consider commer
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Strategic direction R.6 To support
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schools. Similar user pays and scho
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programmes ensure that students and
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Strategic direction R.9 To ensure t
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Strategic direction R.11 To ensure
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The site visits reinforced the impo
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practice and organise curriculum co
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Strategic direction R.14 To ensure
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Strategic direction R.15 To ensure
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Strategic direction R.16 To demonst
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• Supporting productive partnersh
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Arts Education (1995). Report by th
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Bruce, R. & Kemp, A. (1993). Sex-st
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Darrow, A. A. (1987). Exploring the
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Ghaith, G. & Shaaban, K. (1999). Th
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Jeanneret, N. (1994). Teaching musi
- Page 190 and 191:
Marsh, K. (2000). Making connection
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OFSTED. (2004). Tuning in: wider op
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Seidel, S. (1999). 'Stand and unfol
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Vella, R & Arthurs, A (2000). Music
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Appendix A Curriculum Documents Rev
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This document was released in Febru
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Appendix B Site Visit Reports As re
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Factors A B C D E F G H I J K L M N
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B.1 The Armidale Cluster: A collabo
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However, as with Armidale HS, the l
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To meet the needs of boarders who m
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various ensembles, Years 7 and 8 Mu
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Conclusions The success of this pro
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a trio was able to attend a chamber
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As a result, the improved ear train
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The music programme is part of a th
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tables and revise the notes. [For t
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AMEB exams, and music mind games. T
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Why this site was Chosen EPS is a n
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to develop professionally and be en
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the students’ own. The Musica Viv
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excursions and band tours. Those st
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other string instruments after stud
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While the class music curriculum is
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Acknowledgements Lindsay Elliott, D
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Team teaching of music The critical
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B.13 Marryatville High School, Adel
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Conclusions This is a school where
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students who leave, usually at the
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students may post and share ideas a
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We purchased this (recording equipm
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Westy is acknowledged as the team l
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Relationships with the rest of the
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Success factors Throughout the inte
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The students concur on the instinct
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programmes, particularly in the use
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As a result of the active engagemen
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Conclusions This programme is inspi
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[The teacher] will give us a chord
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esources she has (tambourines, tria
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FINAL REPORT 237
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Research questions Corresponding re
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• Intended audience, eg specialis
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Developing Guidelines for Effective
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Self-completion via online question
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Appendix D Review Members D.1 Revie
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Ms Leonie Pech (Representing Austra
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D.5 Acknowledgements Every effort h
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Appendix E Consultation E.1 Submiss
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Lisa Blumson, Education Queensland
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Steve Eads, SA Department of Educat
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John Paul College Dennis Johnson, D
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Andrew Mott, Blackburn High School
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Shakti Saraswati Graeme Sassella-Ot
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Weetangera Primary School Wenona Sc
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Appendix F Submission and Survey Qu
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F.2 Structured Submission Name * Or
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What additional professional learni
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10. What factors affect the quality
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F.5 Survey of Teachers Name of scho
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16. If there is NO music programme