If there are not enough available places, applicants are put on waiting lists. The schools have no entrance examinations. They are publicly financed, but students pay a fee set by the various municipalities. The schools of music and arts are not part of the compulsory school system, rather they are music and arts centres offering voluntary arts courses. Since such deliberations are left up to the teacher, we took this as a point of departure for exploring which approaches to content selection and ways of working were found meaningful by instrumental music teachers working within Norwegian schools of music and arts. Consequently, it is to a great extent up to the teachers to decide on the content and on ways of working. The curriculum framework is only advisory, hence, the schools are not obliged to follow it. Although a detailed and quite recently updated curriculum framework exists ( Norwegian Council for Schools of Music and Performing Arts, 2016), this does not provide specific guidelines for repertoire or how to go about teaching it. The law does not state anything, however, about what forms of teaching content are desired or which ways of working with the musical material should be preferred. The system is designed to ideally reach all children as each municipality is legally responsible for providing school of music and arts education for its inhabitants ( Norwegian Education Act, 1998, pp. The Norwegian municipal schools of music and arts are publicly funded institutions which offer extra-curricular activities for children and adolescents in music and other art forms. In general, what seems to be meaningful for the teachers is working “close to the student’s wishes and preferences,” but in ways that relate to a variety of Didaktik principles. These can be summarized as (a) the centrality of the students in the process of selecting content (b) genre versatility, meaning that students should be exposed to a broad range of musical genres and styles and (c) that students are exposed to the “classical repertoire,” or the standard repertoire within a genre or tradition. From the analysis, we draw conclusions about what the music teachers experience as meaningful approaches. Discussing results from these sources of data in relation to the Nordic and German music Didaktik theories, enables us to address meaningful approaches to selecting content and ways of working. We draw on empirical data from a survey among 151 music teachers and an interview study with 11 music teachers. To answer that question, we discuss what kinds of teaching content the teachers choose in general, as well as for beginner and advanced students, the reasons they express for selecting content, which, if any, music they find not to be suitable as teaching content, and how they work with the selected repertoire. On this basis, in this article we explore music teachers’ approach to content-related decision-making processes by asking about their meaningful approaches to selecting content and ways of working within instrumental music teaching. This means that music teachers’ beliefs and actions are among the factors that influence who will feel welcomed and who will feel alienated. What is taught in these schools is, however, relevant to whether children feel included or excluded. Consequently, this is up to the teachers to decide. The system is designed to ideally reach all children, but while each municipality is legally responsible for providing school of music and arts education for its inhabitants, the law does not state anything about teaching content or ways of working. 2Norwegian Academy of Music, Oslo, Norway.1Department of Arts and Cultural Studies, Inland Norway University of Applied Sciences, Elverum, Norway. Anne Jordhus-Lier 1 *, Sidsel Karlsen 2 and Siw Graabræk Nielsen 2
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |