bluuebunny/crossref_metadata_2025 huggingface dataset:
Information withholding as a manipulative and collusive strategy in Nukulaelae gossip
Authors: Besnier Niko
Published: December 2008

This article examines the organization and function of information-withholding sequences, a conversational strategy used by participants in gossip interactions on Nukulaelae, a Polynesian atoll of the Central Pacific. A withholding sequence is a three-turn sequence whereby a piece of information is withheld in the first turn, an other-repair is initiated in the second turn, and the withheld material is provided in the third turn. Information-withholding sequences thus involve moves that in other contexts would be construed as face-threatening. They have a dual function: they provide speakers an opportunity to manipulate their audiences into becoming coproducers of the gossip, and they reinforce the status of their initiator as controller of the floor. Withholding sequences illustrate how ambiguity and repairs can be exploited to meet the communicative demands of particular interactional contexts. They also illustrate how gossip may be framed simultaneously as group-cohesive behavior and self-serving behavior. (Conversation analysis, ethnography of speaking, gossip, conversational repair, Polynesia, Nukulaelae Tuvaluan)
Language and revolution: Formulae of the Cultural Revolution
Authors: Yuan Ji Feng , Kuiper Koenraad , Shaogu Shu
Published: December 2008

From the hypothesis that routine formulae code cultural norms, it follows that social change will reveal itself in the formulaic inventory of a language. We test this prediction by looking at some of the changes to formulaic speech which took place in postrevolutionary China, particularly during the Chinese Cultural Revolution. We first examine some generally used politeness formulae, comparing them with prerevolutionary equivalents. We then examine the Public Criticism Meeting as a revolutionary ritual and show that its structure and formulaic language arose directly out of revolutionary imperatives. We attribute the changes in the formulaic inventory of Chinese directly to the need to code new social facts, although old social norms can also be discerned in the new formulae, thus showing that social changes are built on a previous social order. (Oral formulaic performance, routine formulae, situational constraints, Cultural Revolution)
Accounting practices in medical interviews
Authors: Fisher Sue , Groce Stephen B.
Published: December 2008

As doctors and patients communicate during medical interactions they both offer accounts and respond to them. By treating these accounts as interactional strategies which link social structure to social interaction we display how the medical interview is characterized by a moment-to-moment battle that mirrors and largely sustains the institutional authority and status of doctors and the reality of genders. (Medicine, communication, accounting practices, interactional strategies, institutional authority, professional status, gender)
The organization of repair in classroom talk
Authors: McHoul A. W.
Published: December 2008

This article is a conversation-analytic investigation of the forms of organization that allow specific items of classroom discourse – words, phrases, up to whole turns at talk – to be altered by subsequent items. Central to the article is an analytic distinction between self-correction and other-correction, that is, between repair sequences in which the speaker of the initial item (the “trouble source”) makes the correction and instances in which this is performed by one of her or his interlocutors (cf. Jefferson 1974; Schegloff et al. 1977). The classroom case is analytically interesting both for its own sake and also on account of research speculations that other-correction should be more frequent in adult-child talk than in other genres of conversation. However, in order to provide an analysis of the problem sensitive to the particularities of the classroom, it is necessary to look not merely at corrections, but at the larger repair trajectories in which they occur. These trajectories consist of corrections plus their prior initiations, the latter being means by which speakers mark out some item as requiring correction. Once the social identities of teacher and student are mapped against self-and other-forms of initiation and correction, it is possible to discern some of the structural preferences of classroom discourse along the general axis of repair. The materials are taken from geography lessons in Australian high school classrooms. (Repair and correction, question and answer, clue-giving, expansion sequences, modulation, classroom discourse, everyday language use, Australian English, conversation analysis, sociology of education)
Contextualization cues in the classroom: Discourse regulation and social control functions
Authors: Dorr-Bremme Donald W.
Published: December 2008

Under certain circumstances, contextualization cues become powerful means of achieving social order. The social organization of a daily group meeting in an American primary grade classroom is closely examined. Participants recurrently generate certain contexts within the meeting in varying sequence from day to day. Transitions from one to another regularly occur smoothly and unremarkably as interaction unfolds. On some occasions, however, this does not happen. Order breaks down, and the teacher and students implicitly negotiate what the context will be. On the surface, these contrasting patterns seem to arise unpredictably as students choose either to “behave” or “misbehave.” That is how the teacher accounts for them. Nevertheless, a closer analysis shows that they are explainable with reference to some subtle contextualization cues that the teacher, without being consciously aware of it, routinely provides but occasionally omits at context boundaries. Students routinely act on the presence and absence of these cues, which thus become a tacit, jointly constructed means of discourse regulation and social control. Their inadvertant “omission” becomes a recurrent source of interactional trouble. (Context, contextualization cues, classroom discourse, ethnography of speaking)
Sentence structure and formality
Authors: Levin Harry , Garrett Peter
Published: December 2008

The evidence is practically unequivocal that left-branching (LB) sentences are more difficult to process than right-branching (RB) sentences. In this study, the hypothesis was tested that LB sentences are judged to be more formal than RB ones and that center-branching (CB) sentences would behave like LB ones. Three groups of subjects, university students in England, Wales, and the United States, ordered three versions of 18 sentences in terms of their formality. LB and CB sentences were considered more formal than RB ones by all three groups of students. LB and CB types did not differ from each other. In a second study, American students choose from the group of three sentences the one they would say to a formal listener (professer/employer) or to an informal listener (brother/sister or close friend). RB sentences were attributed to informal listeners and LB and CB sentences, to formal listeners. (Grammar, formality, sociolinguistics)
The language-planning effect of newspaper editorial policy: Gender differences in The Washington Post
Authors: Fasold Ralph , Yamada Haru , Robinson David , Barish Steven
Published: December 2008

We examined the effect of general statements against sexist usage in the style manual for The Washington Post. We selected a minor usage pattern that was not the subject of an explicit rule, namely, the difference in the use of a middle initial in references to men and to women. This usage was taken as an index of the possible effect of a general policy statement on newswriting practice. We found significantly less difference by sex in this usage subsequent to the publication of the style manual. We take the difference as support for the effectiveness of language planning in this instance, although the significance of our results as evidence of real equality of treatment remains somewhat problematic. There are different points of view in sociolinguistics about the relative value of quantitative versus more directly interpretive methods. We present in some detail the reasoning behind the use of quantitative methods to support an investigation such as ours. (Language planning, language treatment, language and sex, language and the media, style and usage, forms of reference, statistical methods)
Language, power, and cross-sex communication strategies in Hindi and Indian English revisited
Authors: Singh Rajendra , Lele Jayant K.
Published: December 2008

A critical examination of the findings of Valentine (1985, 1986), studies devoted to cross-sex communication in Hindi and Indian English, is shown to reveal that the assumptions of the models on which such descriptions are based are not only nonexplanatory but also untenable. They fail because they ignore hierarchical power. Their failure “abroad” must be seen as an invitation to reflect on their alleged success back home. (Discourse, discourse strategies, cross-sex communication, Hindi, Indian English, English, sociolinguistics)
Complimenting and involvement in peer reviews: Gender variation
Authors: Johnson Donna M. , Roen Duane H.
Published: December 2008

This article presents an analysis of gender differences in the use of compliments in one genre of written discourse. The data base is a set of 47 peer reviews of academic papers written by graduate students in the form of letters. Drawing on work from several theoretical perspectives, we analyzed the forms, strategies, and discourse functions of compliments in these papers. We found that women made significantly greater use of compliment intensifiers and personal referencing than did men. In using compliments to structure discourse, women more often framed the text with both opening and closing compliments. Consistent patterns suggested that women writers accommodated to the gender of their addressee more than did men, resulting in a discernible female-female complimenting style. The study illustrates specific ways that gender is involved in being polite and in creating and sustaining a sense of involvement in written discourse. (Complimenting, politeness, sociolinguistics, gender, discourse strategies, cross-sex communication, English)
Women in charge: Politeness and directives in the speech of Japanese women
Authors: Smith Janet S.
Published: December 2008

This article explores the linguistic practices of Japanese men and women giving directions to subordinates. Previous research on language and gender across a number of languages has equated the speech of women with powerlessness. The literature on Japanese women's speech would support this notion. It characterizes Japanese female speech as soft, polite, indirect, in sum, as powerless. This presents problems for women who must command. The present study, an extension of my previous work on Japanese female speech (Shibamoto 1985, 1987) centered on women in more typically female roles, examines the directives of women in positions of authority in traditional and nontraditional domains and compares them with the directive forms chosen by men in similar positions. Explanations for the differences found are placed within the frameworks of a general theory of politeness and the culturally specific, gendered strategies for encoding politeness and authority in Japanese. (Sociolinguistics, language and gender, politeness)
I will speak, therefore, of a graph: A Chinese metalanguage
Authors: Allen Joseph R.
Published: December 2008

This article describes the acquisition and use of a Chinese metalanguage with which ambiguous spoken words are graphically contextualized. The metalanguage is composed of strategies that range from the actual writing of the Chinese graph (character) to those where the graph is accommodated in a verbal presentation. The nature of the Chinese script and the cultural significance of the graphs have lent weight to this metalanguage such that it comments not only on the language in use but also on the users of the language and on the situation in which it is used. The article is accompanied by a number of anecdotal asides and graphic illustrations. (Chinese, metalanguage, script, graphic contextualization, signature, calligraphy)
“You die for life”: On the use of poetic devices in argumentation
Authors: Rains Charleen
Published: December 2008

Analysis of a sociolinguistic interview reveals repeated presentation of ideas, words, expressions, and structures. These recurrent devices and patterns increase the effect of arguments. The immediate purpose is the listener's acceptance of the speaker's views. There is also a concern to gain recognition of the speaker's opinion of self and his position in society. (Poetics in conversation, argumentation, repetition, Montreal French, Quebec)
How taboo are taboo words for girls?
Authors: De Klerk Vivian
Published: December 2008

In the past five years, there has been much interest in the question of whether women are really as concerned about politeness and status as they have been made out to be by such writers as Baroni and D'Urso (1984), Crosby and Nyquist (1977), Lakoff (1973), Spender (1980), and Trudgill (1972). Despite the commonly held perception that it is only males who bandy about derogatory and taboo words (Bailey 1985; Flexner 1975), Risch (1987) provided counterevidence based on data obtained in the United States. The results of the present study, based on data obtained in South Africa, strongly support her findings and challenge the assumption that women stick to standard speech, citing evidence that young females are familiar with, and use, a wide range of highly taboo/slang items themselves. In particular, attention is devoted to the question of pejorative words applicable to males and females, respectively, and the view that there are only a few pejorative terms commonly used to describe males (particularly by females) is challenged. (Women's language, politeness, linguistic taboo, stereotypes, slang, expletives, prestige forms).
Expletives of lower working-class women
Authors: Hughes Susan E.
Published: December 2008

For many decades, women's speech has been seen as being very different from that used by men. Stereotyped as swearing less, using less slang, and as aiming for more standard speech style, women were judged according to their sex rather than other aspects of their lives, such as class and economic situation. With many critics now challenging these ideas, this article sets out to look at the reality of the swearing used by a group of women from a deprived inner-city area. Their constant use of strong expletives flies in the face of the theories proffered of the “correctness” of the language of women. (Expletives, taboo words, working-class women, female speech, female group, social networks, sociolinguistics, inner-city England)
Some Observations on Research and Music Education
Authors: Swanwick Keith
Published: December 2008

In this article the author attempts to briefly review styles of research and consider some implications for music education. It is argued that, although research constitutes a limitless range of activities, there are none the less certain essential conditions to be met. General areas for research are identified that seem central to music education. Note. This article first appeared in the International Journal of Music Education, No. 1 (May 1983), and is reprinted with permission of the editor and the International Society of Music Education.
The Application of a Critical Sociology to Music Education
Authors: Vulliamy Graham , Shepherd John
Published: December 2008

The aim of this article is to explore some important issues which music educators have raised concerning our work on the use of popular music in teaching and concerning the sociology of music thesis that underpins this work. Following a brief résumé of our perspective, we shall address four criticisms that have been made fairly generally by a number of reviewers ofWhose Music? (Shepherdet al.1977),and of the Cambridge University Press books (Vulliamy & Lee, 1976, 1982a) and the Routledge Popular Music Series (Vulliamy & Lee, 1982b). These criticisms are, first, that we hold an over-socially determined view of music; secondly that we have overstressed the qualitative differences between various musical traditions, especially in their differing relationships to analytic musical notation; third, that the culturally relative view of music which we espouse is both suspect theoretically and potentially anti-educational in practice; and, finally, that many of our suggestions for a reform of music teaching are impractical. Our hope is that we can dispel some ambiguities in our earlier work concerning these important but complex issues and thus leave music educators in a better position to appraise the relevance of our thesis.
‘And a Bit for the Morris Dancers’
Authors: Hamel Kevin
Published: December 2008

In the music of English ritual dances we have an important though rarely exploited resource for creative work in the classroom. The author examines the range of materials available in the collections of Cecil Sharp and Herbert MacIlwaine, and describes a project in a Lincolnshire Junior School in which children, using Orff instruments, developed their own musical ideas starting from a traditional Derbyshire. Morris tune. They retained the essential characteristics of the tune while, at the same time, making imaginative use of the very considerable possibilities offered for melodic and rhythmic variation.
Music Education in European Music Year – and Beyond
Authors: Salisbury I. P.
Published: December 2008

From the viewpoint of European Music Year (EMY) the author, currently HM Staff Inspector for Music and Chairman of the EMY Advisory Committee for Education, makes some general observations about the present condition of and future prospects for music education in the United Kingdom. Reviewing educational initiatives which have been taken during EMY, he relates these to the wider issues which inevitably preoccupy many of us at the present time. Despite the gloomy prognostications being made by some concerning the future of music education, he prefers at this stage to point to positive achievements and to suggest possible lines of development for the future.
The National Festival of Music for Youth as an Index of Musical Acitivity in Schools and Music Centres in England and Wales
Authors: Peggie Andrew
Published: December 2008

From its inception in 1971, the National Festival of Music for Youth has grown to become the largest regular platform for young musicians in Europe (over 700 entries in 1984, amounting to some 20,000 performers). Its development and growth has closely paralleled the rise of in-school instrumental tuition in England and Wales, and in recent years entries to the Festival have included activities from almost every aspect of music making by young people at all educational levels.

This article will outline from both statistical and observational bases the evolution of the NFMY, arguing that, far from merely reflecting trends in music education, it has become a positive means of influence.

The author has been privileged to hear all performances at national level since 1977 (with exceptions from 1982 when multiple venues and simultaneous performances were introduced). He has been present at most of the regional auditions since 1982.
Say it till a song comes (reflections on songs invented by children 3–13)
Authors: Davies Coral
Published: December 2008

Recent publications, such as Music from 5 to 16 (D.E.S., 1985a) and the National Criteria for Music for GCSE (D.E.S., 1985b) reflect the now established view that composition should be a normal part of the music curriculum for all children. There is still some work to be done infurthering our understanding of children's compositions. Much of the material published so far (e.g. Loane, 1984) has concentrated on children of secondary school age. The present article offers some reflections prompted by work with younger children.
The Sequence of Musical Development: A Study of Children's Composition
Authors: Swanwick Keith , Tillman June
Published: December 2008

A musical development sequence is proposed based on the psycho-logical concepts of mastery, imitation, imaginative play and meta-cognition, drawing on the work of Moog, Piaget and the observations of British writers. An interpretation of over seven hundred children's compositions is undertaken yielding an eight-mode spiral of development that may have consequences for music teaching; for overall music curriculum planning, for appropriate responses to individuals, for generating progression in a session or project.
Stages in the Development of Tonal Thinking in Compositions by Young Composers
Authors: Peacock David
Published: December 2008

The increasing interest in children and young people as composers, as evidenced by the growing literature on the subject in recent years, has tended to overlook at least one important aspect of young composers' development: their sense of tonal thinking, its emergence and consolidation. This article traces these characteristics through the compositions of one boy, showing how he ‘progressed’ from pre-tonal operations to fully-established tonal procedures. The discussion of his development is deliberately limited to the examination of harmonic thinking, which manifests itself before long(er)-range tonal planning (in the form of tonality or key schemes) becomes a focus of concern.
Musical Notation in Secondary Education: Some Aspects of Theory and Practice
Authors: Terry Paul
Published: December 2008

The teaching of musical notation is now a legal requirement of the National Curriculum for music in England and Wales. Far from settling the debate over the desirability, or otherwise, of teaching notation, this aspect of the legislation seems to make a review of the problem imperative.

This article examines theories of music as a language analogous to the spoken or written word, and then considers the practical and sociological arguments for and against the teaching of staff notation.
Muslim Attitudes to Music in Schools
Authors: Halstead J. Mark
Published: December 2008

The longstanding debate within Islam about the legitimacy of performing and listening to music is now being heard within the British Muslim community, and some parents are expressing misgivings about the compulsory status of music within the National Curriculum. The paper explores the diversity of Muslim attitudes towards music and argues that teachers in Britain have a responsibility to respond to Muslim sensitivities as far as possible.
A Case Study of ‘Newer Practices’ in Music Education at Conservatoire Level
Authors: Davidson Jane W. , Smith Jonathan A.
Published: December 2008

In recent times the types of teaching and learning strategies adopted within higher education in British music conservatoires have been reviewed and reformed. This paper provides a case study of some of the newer practices adopted by one such institution, the Guildhall School of Music and Drama. It focuses on the work of the Performance and Communication Skills Department, and, drawing on participant observations, makes a detailed analysis of the success of the implementation of the teaching and learning aims and objectives. The findings suggest that, not only are the changes adopted by the conservatoire useful, but also that they are beneficial to teachers and students at a number of levels.
Music Teacher Education: New Directions
Authors: Hanley Betty
Published: December 2008

Research about the delivery of music teacher education programs indicates a number of areas which should be addressed. The report below describes innovative practice in an advanced elementary methods course at the University of Victoria, British Columbia. In Music Education 306, theory and practice were connected through student-directed discussions of foundation issues; the development of personal musical competencies; observation, teaching in the schools, and reflection on practice; the challenge to examine issues critically; and student involvement in the planning of their own learning and assessment. Excerpts from student reflections illustrate some of the learning which occurred.
Who Needs Music at Worcester College of Higher Education?
Authors: Hughes Jenny
Published: December 2008

This paper will examine the wide variety of musical needs which manifest themselves in the relatively small community of Worcester College of Higher Education. The various ways in which these needs are met will be discussed. Contacts with groups and individuals outside College will be considered, as will the role of the local media in both providing information on College activities and acting as a stimulus for further development within College.
The Use of Video Self-assessment, Peer-assessment, and Instructor Feedback in Evaluating Conducting Skills in Music Student Teachers
Authors: Johnston Hugh
Published: December 2008

This study examines the effectiveness of combining video self-assessment, peer-assessment, instructor feedback, and the use of a Conductor Peer/Self Evaluation form, in the instruction of conducting gestural technique. Twenty-five P.G.C.E. music students from the University of London Institute of Education were videotaped while conducting. Concurrently, they were being assessed by a peer, and given feedback by the instructor. The peer and the conductor reviewed the videotape and determined three areas of strength and three areas that need improvement in the conductor gestural technique. The experimenter tabulated the results and surveyed the group as to the effectiveness of the teaching process. Results indicate that the instructional process was effective, and the inclusion of peer-assessment helped to present a more accurate view of each conductors skills.
Putting Listening First: A Case of Priorities
Authors: Priest Philip
Published: December 2008

The encouragement of aural methods should be basic to any fostering of musical experiences and understanding. This basis has been lost in European formal music education largely because of the all-pervading influence of musical literacy. Efforts to retain some importance for the aural experience through examinations have mostly been unsuccessful. If music is primarily an aural experience, then it is this that should govern the work of teachers at all times. A case is presented for both class and instrumental teachers to recognise the importance of psychomotor skills and the value of imitative methods for all pupils, enabling improvisation on all instruments. The argument draws on some examples of teaching and learning from other cultures.
Seeking the female, through the holistic study of music
Authors: Simpson Helen
Published: December 2008

In our efforts to break the vicious circle of gender inequality in the culture of the classroom, we need to pay attention particularly to the implications for music of the statutory requirements for Equal Opportunities in schools, and also to those elements of teacher training that will equip musicians to deal with this aspect of the curriculum. The author emphasises the importance of teaching from a feminist standpoint, wherever possible using examples of women's music for analysis and for historical and ethnomusicological studies. Possibly the most problematic area – and one that now clearly needs research – is the identification of a female aesthetic in the repertoire of music for study and performance.
The Possibilities of/for Feminist Music Criticism in Music Education
Authors: Lamb Roberta
Published: December 2008

The essay sets the context and identifies some possibilities this music educator/feminist theorist currently finds in music, whilst applying the framework of sociologist Dorothy Smith's standpoint feminism to music as constituted within the ideology of particular institutions and practices. Contributions of feminist musicology, in terms of documentation of women's experience in and with music, women's status, and perspectives of feminist music criticism, are summarized. Considering these contributions and framework as a basis to this contextualized critical stance leads to further questions. For example, just as feminist musicology provides music education with the possibilities of new content, is it not likely that feminist criticism in music education could assist musicology in coming to terms with making musical sense, collectively, through cultural institutions? In beginning to work with such a question of criticism, it is suggested that institutional issues of power, as played out through who teaches and sexual harassment of student, are evident and require attention.
The Power of Women Musicians in the Ancient and Near East: The Roots of Prejudice
Authors: Gergis Sonia
Published: December 2008

Amongst the most fascinating discoveries made in recent years was the identification of the Egyptian songstress Iti (2450 BC) as the first woman composer to have been mentioned by name in musical history. This paper examines the status of professional women musicians in Ancient Egypt, their role in society and their contribution to various aspects of life and death. Reviewing the range of styles, practices and variety of instrumental and vocal ensembles in which women took part as composers, performers and instructors, the author traces the development of a musical tradition which would appear to throw light upon some long standing prejudices, and to have important implications for music education in multi-cultural schools today.
Music and Gender at Key Stage Three (11–14): An Action Research Project
Authors: Costley Carol
Published: December 2008

This article seeks to create further professional debate on the practical, political and historical significance of girls' experience in music education, and to suggest possible ways for change.

A secondary schools research project on Music and Gender is outlined and work in one project school where language (especially the words in songs) was the focus is discussed in detail.
Music, Gender and Education A Report on Some Exploratory Research
Authors: Green Lucy
Published: December 2008

Sexual difference expresses itself not only in the musical practices and tastes of boys and girls in schools, but also in teachers' discourse about pupils' musicality. The following article explores this discourse through interpreting the findings of some questionnaire research, which was intended to tap teachers' common-sense and sometimes unspoken assumptions about gender, music and education. A considerable amount of both overt and implicit consensus between teachers is revealed. Questions are raised about the implications of such a consensus, both for the musical education of children, and for the musical roles of men and women. This article was originally written and published as a Research Report in the London University Institute of Education.
A Report from the Third Biennial Conference of UK Council for Music Education and Training Managing New Forms of Provision of Music Support Services
Authors: Glynne-Jones Marjorie
Published: December 2008

The third biennial British Music Educators' Conference, ‘New Skills for a New Era’, organised by the UK Council for Music Education and Training, was held at Stoke Rochford, Lincolnshire, in July 1993. One of the conference days focused on 'Managing New Forms of Provision of Support Services'. This report is a collation of notes from speakers, whose contributions are included, as they spoke, in the first person and flipchart notes from participants' discussion groups.
Listening, Appraising and Composing: Case Studies in Music
Authors: Preston Hamish
Published: December 2008

Teachers describe work with pupils aged 10 to 15 which explores the connection between listening, appraising and composing and other aspects of listening as a learning process. These case studies provide evidence of how a group of Berkshire teachers make connections that were envisaged by the architects of the National Curriculum but not necessarily encountered in practice.
A report of a National Conference for Head Teachers, Education Officers, Governors, Parents, Teachers and Heads of Music Services organised jointly by Music for Youth and the Music Education Council
Authors: Peggie Andrew
Published: December 2008

On Monday and Tuesday July 4 and 5,1994, a national conference was held at the Queen Elizabeth Hall, London, concurrently with the annual National Festival of Music for Youth. Organised jointly by Music for Youth and the newly renamed Music Education Council, and supported by the Times Educational Supplement, it aimed to address questions of support and provision for music education and the maintenance of quality in music education in the light of changing national structural and funding circumstances in the UK. This report outlines the platform speakers' contributions in precis form, together with an overview of the emerging themes and issues identified during both presentations and question/discussion sessions.
The Role of Graded Examinations in Music
Authors: Salaman William
Published: December 2008

The perceived benefits of graded examinations are compared with the actual benefits that they bring and are then weighed against the more general and widely accepted desirable outcomes of musical education in Great Britain. The syllabus of a typical graded examination is analysed in some detail and the conclusions drawn suggest that the time-honoured format of graded examinations serves only some of the musical needs of pupils. Some radical suggestions for up-dating examinations are discussed.

This article is based on some of the materials prepared for the certificate course:Music Teaching in Private Practiceto be mounted by the University of Reading Department of Arts and Humanities in Education in collaboration with the Incorporated Society of Musicians.
Background Listening
Authors: da Costa Doris
Published: December 2008

For the last ten years or so educational researchers such as Bloom, Sosniak, Sloboda and Shane have been dissecting and documenting the lives of successful musicians, their parents and teachers. In every study, parent and teacher commitments feature prominently, and music can be seen to be an integral part of home life. In their early years the most successful musicians often had strong parental support and practice supervision in some form. They heard recordings and/or live performances regularly and naturally. In addition, Sosniak (1985) identified the type of dedicated instrumental teachers who worked assiduously to provide these musically-able pupils with expertise and a wealth of musical opportunities. For pupils up to the age of 14 listening and appraising music is now, and will continue to be, a significant proportion of the national curriculum for music. Conscientiously and imaginatively delivered, it should provide a broad experience of musical listening.
Accommodating the history of music within the National Curriculum
Authors: Terry Paul
Published: December 2008

Under current legislation, the history of music forms a specific strand of listening and appraising at Key Stages 1 to 3. This article discusses some philosophical and practical aspects of these current requirements, together with their implications for further and higher education, as well as attempting an anticipation of future developments in the light of the recent review of the National Curriculum as a whole.
Motivation and Musical Literacy in the Education of Year 3 Children
Authors: Brown Geoffrey , Harrison Helen
Published: December 2008

This paper describes how a teacher explored her teaching of an introduction to recorder playing to children, and how she tested her belief that music notation was an essential component of that teaching.

Two roughly parallel classes of 7 to 8 year-olds were introduced to recorder playing. One group was given tuition accompanied by music notation, the other group learned to play by ear. An interaction was found between the ability of the child and the relative success of a method of teaching. More able pupils became demotivated without access to written music, whilst less able pupils retained their interest when playing by ear. An intermediate strategy, using notation with the names of the notes written below, proved effective for those of average ability.

An holistic assessment of the quality of performance created by the two groups was independently assessed. Contrary to expectations the playing by ear group produced better quality sound than that of the group exposed to music notation.

The implication for the introduction of music performance to young children is discussed.
Listening to the music of early childhood
Authors: Young Susan
Published: December 2008

An interest in listening to nursery age children spontaneously making music on percussion instruments led to re-thinking the role of adult as listener to children's music making. It is suggested that this role is not a passive one but active. The adult playfully participates with the child and takes responsibility for ‘scaffolding’ the child's emerging music making. Participant listening challenges conceptions of the listening act itself.
Argentinian Soundscapes
Authors: Schafer R. Murray
Published: December 2008

The author reflects on his work with music teachers and students during three weeks in Buenos Aires in November 1994.
What's Wrong With School Music?
Authors: Ross Malcolm
Published: December 2008

This paper examines the tradition of ‘teaching’ in the arts, taking, as a case in point, recent attempts by music educators to make school music more appealing to students. Research is cited which would seem to call into question the effectiveness of years of so-called curriculum development in music, and the point is made that the reforms may not have been sufficiently radical. By reference to the writings of R. G. Collingwood and H.-G. Gadamer an argument is developed around the notion that the arts cannot in fact be ‘taught’ and that the troubles connected with, in this case, school music, arise from the failure of music teachers at all levels to acknowledge this fundamental intuition. The paper follows Collingwood further in suggesting an account of arts teaching which sees the arts as a way of having ideas, and the purpose of an education in the arts as helping someone find their authentic, expressive voice.
Technology and Visual Impairment: A review of current options in music education
Authors: Stimpson Michael
Published: December 2008

The term ‘visually impaired’ is applied generally to include those who have relatively good functional eyesight as well as those with little or no perception of images or light. Its use is preferable to the more emotive and frightening word ‘blind’, but nevertheless ‘visually impaired’ still contains a substantial degree of mystery and unknown for those teachers who rarely or never come into contact with children and/or students who have poor vision. This is due mainly to the difficulty of conceiving and appreciating what can and cannot be seen by someone who is visually impaired, and this itself then confuses the reaction to the needs of that person. These requirements are often a subtle mix of practical support, and understandably, most teachers would expect these to be the concern of established support systems. This is, however, not always the case, particularly as more and more visually impaired children are studying within mainstream education rather than at special schools, and as visually impaired students take up opportunities in further and higher education. It is, of course, no reflection on procedures and organizations that are concerned with the visually impaired in education to stress the need for increased awareness amongst teachers in mainstream education. This is particularly important because the most significant developments in technology have occurred within the last 10—15 years, and the cost has reduced so that it has become more widely accessible.
Starting at secondary school
Authors: Mills Janet
Published: December 2008

The quality of music teaching that pupils receive when they enter a new secondary school at the age of 11 years varies. The article considers the characteristics of unsuccessful and successful approaches to teaching in Year 7.
Thinking skills in music education
Authors: Naughton Christopher
Published: December 2008

After working with many groups that have been culturally displaced, from victims of the holocaust to black teenagers from the ghetto, Reuven Feuerstein, an Israeli psychologist, has come to the conclusion that we learn everything through cultural transmission. Without a common value system young people do not have the necessary tools to connect with mainstream education. From this starting point Feuerstein believes learning has to be ‘modelled’ and mediated by the teacher to ensure understanding and progression. Above all, Feuerstein sees knowledge and skills as transferable, so that children who develop skills in one activity should be able to examine what they've accomplished and apply this in other areas of activity. Feuerstein's ideas have been seen to be universally applicable in education as a whole, and these principles have much to offer the class music teacher.
Preservice music teachers: influences on lesson planning
Authors: Killen Roy
Published: December 2008

This article explores the influences on preservice teachers' planning decisions in a study conducted during Semester I, 1994 at an Australian University. A group of second year Bachelor of Education (Music) students and Diploma in Education (Music) students were placed in a local school under the supervision of their university specialist methods lecturer and were required to teach a specified lesson to a junior secondary class on three occasions. Before teaching these lessons, every preservice teacher was interviewed and asked to justify each of their planning decisions. Responses for the planning decisions at each stage of the study were grouped into categories. The results show that some categories of responses remained the same, while others changed throughout the study. The study also revealed that the preservice teachers operated on two sets of lesson agendas: the written agenda which was influenced by the university pedagogical programme, and the unwritten agenda influenced by the preservice teachers' beliefs about teaching.
Talking music: empowering children as musical communicators
Authors: Harrison Chris , Pound Linda
Published: December 2008

The article looks firstly at research into early human communication and secondly at the learning experiences of successful musicians in a range of fields. It underlines the idea that music learning and language learning have much in common. Musical improvisation is seen as having a central role, similar to that of talking in relation to verbal language. Recognition of this role forms the basis of an approach which builds on children's early musical development and can enable them all to fulfil their potential as musical communicators. Directions for further research are suggested.
Too fine a net to catch the fish? An investigation of the assessment of composition in GCSE Music
Authors: Pilsbury Christopher , Alston Philomena
Published: December 2008

In this study, the authors set out to investigate the assessment of musical composition in the General Certificate of Secondary Education (GCSE), according to the criteria and marking system of a ‘typical’ examining board. In this article they describe how they conducted their investigations, what they found, what they suggest may be reasons for those findings, and how it might be possible to make improvements in the assessment procedures.
So what's new? A survey of the education policies of orchestras and opera companies
Authors: Winterson Julia
Published: December 2008

Originally, the creative music workshop involving professional players was intended to give direct support to school teachers and to enhance music in the classroom, but today's large-scale, high-profile projects mounted by orchestras and opera companies appear to be developing into a full-scale industry on their own. Their role in partnership with schools and colleges now requires clarification: a survey of education policies has revealed some confusion of aims with few bodies looking closely at objectives, outcomes and effects. Music companies could profit from the experience of museums and art galleries.
The rights and wrongs of school music: a brief comment on Malcolm Ross's paper
Authors: Plummeridge Charles
Published: December 2008

In this article consideration is given to some of the issues raised in Malcolm Ross's provocative critique of music education and music educators (TJJME, 1995, 12, 185–201). Ross's claim that there is empirical evidence to support a view of school music as a failing arts subject requires closer examination and critical evaluation. Whilst his contention that the arts subjects cannot really be taught in schools is both interesting and challenging, teachers will question some of Ross's underlying pedagogical and aesthetic arguments. They are also likely to conclude that he pays insufficient attention to the many developments that have taken place in the theory and practice of music education.
‘Changing the face of school music’: Walford Davies, the gramophone and the radio
Authors: Cox Gordon
Published: December 2008

Between 1922 and 1941 Walford Davies linked music in schools with the relatively new media of the gramophone and the radio. His work with the BBC and the Gramophone Company had immense potential. He believed strongly that teachers using the radio and gramophone could contribute to a significant improvement in the musical life of the nation. At the heart ofDavies's educational mission was a belief in the ability of children to compose their own melodies, Davies achieved a high public profile for his work, but was less successful in developing its detail. His teaching method became predictable, and style triumphed over substance. However, it may be more productive to view his work within the context of his notion of fellowship, recovering a sense of community in the arts through the mass media, an attempt to connect different musical worlds.
INITIAL TRAINING + INSET = Confident teachers. A formula for success?
Authors: Beauchamp Gary
Published: December 2008

There has long been concern about the confidence and performance of the so-called non-specialist teacher of Music in the primary school. Although much research has focused on the long-term solution of educating student teachers, it is important that practising teachers are not forgotten. Many forms of training are available which attempt to help these teachers develop their current practice. This article looks at the effectiveness of this provision by examining a survey of teacher opinion, and suggests ways in which this may inform future practice in this vital area of teacher development.
The development of memorisation strategies in musicians: implications for education
Authors: Hallam Susan
Published: December 2008

Strategies for memorising music change as expertise develops. Twenty-two professional freelance musicians and 55 novice musicians were interviewed regarding their approaches to memorisation. Strategy use was found to depend on the nature of the material to be memorised. There was also evidence of considerable individual diversity in preferred strategies, learning being based on combinations of automated aural, kinaesthetic, or visual strategies. The professionals also made deliberate attempts to assist the memorisation process by developing an understanding of the structure of the music through analysis and devising strategies to avoid confusion when passages were similar. To reduce anxiety related to performance several strategies were often adopted simultaneously.