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Support Services for Music Education Advisory Services Support Services for Music Education Support for learning a musical instrument Strategic direction xx NATIONAL REVIEW OF SCHOOL MUSIC EDUCATION R.7 To enable every Australian student to participate and engage in continuous, sequential, developmental music education programmes Recommended actions Schools, school systems and sectors R.7.1 Establish, reinstate and/or provide support services for music education including advisory teachers, consultants, resource libraries, mentoring, networking and on-line provision of support (with appropriate technology and training) R.7.2 Establish partnerships with professional and community organisations, professional associations and universities to provide support for music education in schools R.7.3 Initiate alternative models of delivery of curriculum services including outsourcing Strategic direction R.8 To ensure that • Every Australian student participates and engages in initial instrumental music programmes; and, • Students with identified interest and talent in instrumental music are provide with sustained instrumental music programmes Recommended actions State/Territory school systems and sectors R.8.1 Provide instrumental tuition in a range of instruments that reflect the breadth of music in contemporary society and meet the needs of students R.8.2 Provide instrument hire schemes R.8.3 Provide funding for instrument maintenance and repair services R.8.4 Provide appropriate facilities for instrumental tuition, taking account of requirements for Occupational Health and Safety, Child Protection, storage and security R.8.5 Integrate instrumental and other class music learning R.8.6 Provide professional development for teachers in instrumental music R.8.7 Provide performance opportunities for instrumental music students Universities in partnership with school systems and sectors R.8.8 Research the delivery of instrumental music in a range of modes including through distance and electronic delivery
Support Services for Music Education Support for vocal music Strategic direction R.9 To ensure that • Every Australian student participates and engages in initial vocal music programmes; and, • Students with identified interest and talent in vocal music are provide with sustained vocal music programmes Recommended actions State/Territory school systems and sectors R.9.1 Provide vocal and choral tuition for all students that reflects the breadth of music in contemporary society and meet the needs of students R.9.2 Provide appropriate facilities for vocal and choral music, taking account of requirements for Occupational Health and Safety and Child Protection R.9.3 Provide professional development for teachers in vocal and choral music R.9.4 Provide performance opportunities for vocal music Universities and schools of education R.9.5 Ensure that vocal and choral music is an integral part of preservice training for teachers FINAL REPORT xxi
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 18 and 19: In-service professional development
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
Page 68 and 69: As musicians are increasingly calle
Page 70 and 71:
• The accessibility, equity and s
Page 72 and 73:
Table 1: Research questions and cor
Page 75 and 76:
Part 3 A Snapshot of School Music E
Page 77 and 78:
continued to develop and use K-10 s
Page 79 and 80:
The AMEB has also produced syllabi
Page 81 and 82:
Do Australian music curriculum docu
Page 83 and 84:
Table 3: Instrumental and vocal mus
Page 85 and 86:
45,000 40,000 35,000 30,000 25,000
Page 87 and 88:
3.4 Summary of trends from the subm
Page 89 and 90:
indicating that they held a tertiar
Page 91 and 92:
Faced with a funding a sporting or
Page 93 and 94:
Governments of all political persua
Page 95 and 96:
Professional development for teache
Page 97 and 98:
My school currently does not offer
Page 99 and 100:
Form of education Of the Sample Sch
Page 101 and 102:
Teaching There was little differenc
Page 103 and 104:
Teachers The most consistent factor
Page 105 and 106:
orientation. Continuity of teaching
Page 107 and 108:
class group placed special demands
Page 109 and 110:
It is good allowing anyone to join
Page 111 and 112:
Question What the Review found abou
Page 113 and 114:
Associated with teacher education t
Page 115 and 116:
Part 4 Guidelines for Effective Mus
Page 117 and 118:
4.1 Guidelines for student learning
Page 119 and 120:
Aesthetic Understanding Listening a
Page 121 and 122:
Page 123 and 124:
Page 125 and 126:
Page 127 and 128:
Guidelines for Student Learning Lea
Page 129 and 130:
Guidelines for Systems and Sectors
Page 131 and 132:
4.3 Guidelines for teachers and cla
Page 133 and 134:
Professional relationships Guidelin
Page 135 and 136:
Guidelines for Teachers and Classro
Page 137 and 138:
Guidelines for the broader communit
Page 139 and 140:
Part 5 Issues, challenges, and oppo
Page 141 and 142:
general ‘arts’ outcomes - and,
Page 143 and 144:
disappeared from the radar. In some
Page 145 and 146:
Strategic direction R.2 To ensure e
Page 147 and 148:
developmental approach to music edu
Page 149 and 150:
working with ensembles and working
Page 151 and 152:
Strategic direction R.4 To improve
Page 153 and 154:
Strategic direction R.5 To ensure t
Page 155 and 156:
This Review did not consider commer
Page 157 and 158:
Strategic direction R.6 To support
Page 159 and 160:
schools. Similar user pays and scho
Page 161 and 162:
programmes ensure that students and
Page 163 and 164:
Strategic direction R.9 To ensure t
Page 165 and 166:
Strategic direction R.11 To ensure
Page 167 and 168:
The site visits reinforced the impo
Page 169 and 170:
practice and organise curriculum co
Page 171 and 172:
Page 173 and 174:
Page 175:
Strategic direction R.16 To demonst
Page 178 and 179:
• Supporting productive partnersh
Page 180 and 181:
Arts Education (1995). Report by th
Page 182 and 183:
Bruce, R. & Kemp, A. (1993). Sex-st
Page 184 and 185:
Darrow, A. A. (1987). Exploring the
Page 186 and 187:
Ghaith, G. & Shaaban, K. (1999). Th
Page 188 and 189:
Jeanneret, N. (1994). Teaching musi
Page 190 and 191:
Marsh, K. (2000). Making connection
Page 192 and 193:
OFSTED. (2004). Tuning in: wider op
Page 194 and 195:
Seidel, S. (1999). 'Stand and unfol
Page 196 and 197:
Vella, R & Arthurs, A (2000). Music
Page 199 and 200:
Appendix A Curriculum Documents Rev
Page 201 and 202:
This document was released in Febru
Page 203 and 204:
Appendix B Site Visit Reports As re
Page 205 and 206:
Factors A B C D E F G H I J K L M N
Page 207 and 208:
B.1 The Armidale Cluster: A collabo
Page 209 and 210:
However, as with Armidale HS, the l
Page 211 and 212:
To meet the needs of boarders who m
Page 213 and 214:
various ensembles, Years 7 and 8 Mu
Page 215 and 216:
Conclusions The success of this pro
Page 217 and 218:
a trio was able to attend a chamber
Page 219 and 220:
As a result, the improved ear train
Page 221 and 222:
The music programme is part of a th
Page 223 and 224:
tables and revise the notes. [For t
Page 225 and 226:
AMEB exams, and music mind games. T
Page 227 and 228:
Why this site was Chosen EPS is a n
Page 229 and 230:
to develop professionally and be en
Page 231 and 232:
the students’ own. The Musica Viv
Page 233 and 234:
excursions and band tours. Those st
Page 235 and 236:
other string instruments after stud
Page 237 and 238:
While the class music curriculum is
Page 239 and 240:
Acknowledgements Lindsay Elliott, D
Page 241 and 242:
Team teaching of music The critical
Page 243 and 244:
B.13 Marryatville High School, Adel
Page 245 and 246:
Conclusions This is a school where
Page 247 and 248:
students who leave, usually at the
Page 249 and 250:
students may post and share ideas a
Page 251 and 252:
We purchased this (recording equipm
Page 253 and 254:
Westy is acknowledged as the team l
Page 255 and 256:
Relationships with the rest of the
Page 257 and 258:
Success factors Throughout the inte
Page 259 and 260:
The students concur on the instinct
Page 261 and 262:
programmes, particularly in the use
Page 263 and 264:
As a result of the active engagemen
Page 265 and 266:
Conclusions This programme is inspi
Page 267 and 268:
[The teacher] will give us a chord
Page 269 and 270:
esources she has (tambourines, tria
Page 271:
FINAL REPORT 237
Page 274 and 275:
Research questions Corresponding re
Page 276 and 277:
• Intended audience, eg specialis
Page 278 and 279:
Developing Guidelines for Effective
Page 280 and 281:
Self-completion via online question
Page 283 and 284:
Appendix D Review Members D.1 Revie
Page 285 and 286:
Ms Leonie Pech (Representing Austra
Page 287 and 288:
D.5 Acknowledgements Every effort h
Page 289 and 290:
Appendix E Consultation E.1 Submiss
Page 291 and 292:
Lisa Blumson, Education Queensland
Page 293 and 294:
Steve Eads, SA Department of Educat
Page 295 and 296:
John Paul College Dennis Johnson, D
Page 297 and 298:
Andrew Mott, Blackburn High School
Page 299 and 300:
Shakti Saraswati Graeme Sassella-Ot
Page 301 and 302:
Weetangera Primary School Wenona Sc
Page 303 and 304:
Appendix F Submission and Survey Qu
Page 305 and 306:
F.2 Structured Submission Name * Or
Page 307 and 308:
What additional professional learni
Page 309 and 310:
10. What factors affect the quality
Page 311 and 312:
F.5 Survey of Teachers Name of scho
Page 313:
16. If there is NO music programme
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