Effects of curriculum changes on music education free essay sample

It will also examine the alternative theories of how this enforced learning of a core subject may either aid the pupils learning experience as a whole, or serve to disc-engender and alienate them from any further learning of the subject. A survey will proffer opinion from those both inside and out the education sphere on the outcome they envisage for both the pupil and the country, following these changes.Finally, taking this combination of evidence, research and opinion into consideration, the conclusion will opine that thus far, there is little to substantiate a proven basis for these changes, nor has any evidence been provided to conclusively confirm or disprove any benefits to either the pupil or the music industry.Given these findings, the paper will conclude that, in light of the short period between the changes and the search and most especially given the lack of any evidence to suggest either areas of positive or negative outcomes, that it is impossible to make an accurate fo recast as to the future outcome these changes may afford the music industry in the future. We will write a custom essay sample on Effects of curriculum changes on music education or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Acknowledgements With grateful thanks to the staff Of the Music Department Of The Manchester College, most especially Jeff Thompson, Michael Hooker and Serene Boyd for their professional opinions and personal reflections.Introduction Despite extensive research, the rationale behind the implementation Of music as a core subject until Key Stage 3 is still unclear, with attempts to uncover NY evidential reasoning behind it providing little more than scant circumstantial evidence. In a speech in February 2014, given at The London School of Excellence, Michael Gave makes constant reference to the need for a much higher level of education from all schools, which should be given in equal measure all pupils, no matter their background or lifestyle.The overall tone of his speech implies that the improvement of Britain as a whole will stem from a properly educated generation of pupils. This is re-iterated in his speech given to McAllen in May of the same year, when he states that getting ever y childs education right is central to our long-term economic plan for the country (Gave, M. 2014). He further expands on this as he unveils the plans for an improved apprenticeship scheme to heal the apartheid between our education system(Gave, M. 2014)(Appendix A).Darrel Hen less Review of the Reforms to Music Education report states that Research evidence shows that a quality music education can improve self- confidence, behavior and social skills (Henley, D. B). However, there is no further mention of this evidence within the paper, nor any research shown to substantiate this claim. Although it makes mention of many Of the issues concerned, it does not proffer any background or evidence to justify its opinions. This, and Coves aforementioned speech, are, in essence, the only written evidence available as to Coves thought on education and its need for reform on the scale he has proposed.His approach is one of almost back to basics, where heads and teachers are seemingly placed in charge once more, given the implementation of the updated Behavior and Discipline Guidelines for Head Teachers (Appendix C). It is fair to assume from both of these documents that Gave envisages that a trice and fairer working environment for the pupil will produce a better educated and well-rounded individual, capable of and willing to participate in and contribute to an improved society.His ethos appears to be that this will, in turn, boost the economy and society across the board. His mention of this broad spectrum belief is mentioned in a radio interview for Radio 3 Music Matters in June this year (Appendix D). In it, he reflects on his speech given at the Royal Opera House earlier in the year, and re-iterates that . . Clearly it is my belief that an understanding of the tradition of classical music is absolutely part of what a properly rounded education should M. 2013).Although he also makes mention of access to music education for less financially able pupils and acknowledges the uncertainty amongst teaching staff, he does not introduce any evidence to support his musings. This lack of supporting evidence is the endemic theme running throughout the research, providing little or no scientific basis for a measured conclusion. Contents page Cover Sheet Page 1 Page 2 page 3 page 4 Page 5 Research paper pages 6-9 Conclusion pages 10-11 References Page 12 Bibliography Pages 13-16 Appendix A McAllen Speech Appendix BHenley Review Appendix C Behavior Guidelines Appendix D Radio 3 Interview Transcript Appendix E Plato Appendix F A New Direction Appendix G The Mozart Theory Appendix H Music Tourism Report Appendix I Music Export Growth Scheme Appendix J Mockingbird Article Appendix K May, Gave Dispute Ap pendix L Reactions to Changes Appendix M Us Nee Rues Its Appendix N Additional Research Apt 1 Appendix O Additional Research Apt 2 Appendix P Additional Research Apt Research Paper An overview of Michael Coves childhood provides us with a background of state education, and latterly, his frequent assertions of support for the caching community.Following the reforms to many modules of the national curriculum for England in February 2014, the evidence used to rationalist these changes has been challenged at many levels. Janet Downs Freedom of Information application for the evidence used as the catalyst to change the curriculum revealed, not as was hoped for, a series of independent studies or statistical based evidence; rather a handful of commissioned surveys detailed in The New Statesman as a survey of 2000 1 1 to 16 year olds by Premier Inn; a study commissioned by Lord Ashcroft of 1000 children aged 11 to 18 to ark the unveiling of the Bomber Command Memorial in London; a report by Professor Robert Tombs for think-tank Polite; an article by London Mums Magazine; research carried out by the Sea Cadets to mark the anniversary of the Battle of Tarantula (Here, A. 2013) The need for such an in-depth overhaul based on what appears to be relatively unscientific research has caused consternation across the education world, especially given the way the timeliness for these changes were rushed through and how resources for these changes have been difficult to secure. It is difficult, when faced with suc h seemingly unsubstantiated data, to perceive that this was Coves sole basis for the curricular overhaul however, there appears to be no more reasoning put forth by the Department of Education other than the findings released to Janet Downs, via the Freedom of Information Act.Although there is no evidence to suggest that there has been any specific research into this area by the Department of Education, it may be pertinent to examine two differing schools of thought as regards pupil learning, in order to observe this matter of music opportunity versus enforced learning. Do not train a child to learn y force or harshness; but direct them to it by what amuses their minds, so that you may be better able to discover with accuracy the peculiar bent of the genius of each. (Plato, 423-374 BC)(Appendix E). This thinking is perhaps best anecdotally evidenced in todays modern world, by comparing the time spent by children on learning in relation to their homework in direct Contrast to the ti me they spend learning to play a new online game. Although, as a generalization, it is fair to suggest that homework is perceived as not fun, the excitement of a new games console challenge is usually afforded much more mime and perceived as fun. Although both actions bring about their own learning experiences, Plats theory suggests that the learning from the game activity is a sub-conscious one, and therefore, further learning will be both sought out and enjoyed by the child. He states that this will bring out the best, individually, in each child. An enforced learning environment, it is suggested, would deter the child from wishing to pursue any further involvement with the topic in hand, thus removing their continuing learning process from it. Under the new curriculum, all children will be in receipt of a music education thin their timetable until Key Stage 3.In a report by Greg Keller on the findings of A New Direction, a think tank for arts and young people based in London, allowing the pupil a choice to continue with their mus ic education at this stage will have a statutory entitlement to be able to study a minimum of one subject in each of these four areas, meaning that all pupils will be entitled to study one arts subject should they wish (Keller, G. 2014)(Appendix F). This certainly makes provision for all children to aspire to a relevant and educated background in preparation for a career in the music industry should they sire, and is reported as well received by both teachers and arts organizations alike. It provides a broad spectrum opportunity to all pupils, regardless of class, background, race or gender. Conversely, there is also the consideration that pupils may, if they so wish, decide not to continue with their music education once they have reached Key Stage 4.It must be questioned at this juncture, how many pupils will have either had their interest heightened by the 3 years previous compulsory music education, or how many will have been turned away from any enjoyment of the art form by this enforced learning of the subject matter. If, as Plats theory suggests, that forcing a child to learn a subject effectively turns them away from it, what possible benefits can there be to either the pupil or the music industry if they then choose no t to continue their music education? One industry professional, who currently works with children under 16, running accessible music workshops outside school hours, ponders if the monies spent on changing the curriculum might have been better put to use by funding peripatetic teachers and musicians to go into the schools.This would allow all pupils the same access to a music education should they want it, and would river to continue to support and educate those pupils who wished to enter into a music career, without the need for those less interested to have their timetables altered for a subject which they had no interest in. However, such a system may well place music outside of the curriculum, and this would not fulfill Coves objective that it be an accessible art for all. There is, of course, the possibility that Coves changes are based on the desire to increase educational standards as a whole, as mentioned in his speech to Manacles- One aspect of motivational and assisted learning techniques he may have searched is that of The Mozart Theory(Appendix G).As a very broad overview, The Mozart Theory suggests that, for a short period of time, spatial awareness can be improved by listening to certain passages of Mozart music. This theory has been oft MIS-quoted and challenged, although it is most often the MIS-quoted exaggerations of the research which have been disputed. The overall effect of listening to Mozart or any of the other composers whose music has been tested under the same conditions, has been suggested as an avenue to allow the brain to think in a more formulaic fashion. It is thought that the discipline needed to listen to and accept the music can be applied to other walks of life, and thus provide a better level of study from the pupil.It a very fluid theory though, and cannot be applied as a scientific basis for better education. The changes to the music curriculum could be as a result of a drive to increase music exports in the future. The British music export industry currently holds a 13% share of the world market, and it is reasonable to suggest that an increase in the numbers of educated musicians may well result in more British musicians becoming ammos throughout the world. A recent report by UK Music states that the spend from music tourists was E. 2 billion(ELK Music, 2013)(Appendix H). According to the report, music tourism generated 24,000 jobs and is heralded as a massive achievement.However, there is no mention of how many musicians applied for those 24,000 positions. Whilst as a theory, it may well arise that a greater proportion of British bands will attract a bigger audience and therefore increase the turnover of the music industry, there is no evidence to show that this growth can be predicted with anything other than nod in that general direction. There is certainly no evidence to support the theory that by producing an increased musician base, these musicians will produce a thriving export industr y. Quite simply, it has been impossible to uncover any research to suggest to this. That said, there are moves, in the form of grants, to promote the British music industry abroad(Appendix I).Teamed with The British Phonograph Industry (BPi), the Department for I-J Trade and Investment has announced plans to award grants to UK bands, in order to facilitate the promotion of their music abroad. Funds have been made available through this Music Export Growth Scheme, and bands must submit plans for recording or tour costs, which they believe will help to sell their music around the world. Chairman of the Department for UK Trade and Investment, Lord Livingston, says that these grants will enable British bands and performers to excel outside their alma mater, thus helping improve and create employment opportunity. this exporting strength brings jobs and economic growth to the J. 2014). The drive towards a more technology based music syllabus would lend some credence to Gave receiving this to be a way to improve the business acumen of the arts. There is some circumstantial, albeit not music related evidence to suggest that many of the curriculum changes are borne from Coves desire to instill a better knowledge of British heritage throughout the education system. Recent news coverage has highlighted Coves decision to remove several works of literature and writers from the syllabus, namely American classics such as To Kill a Mockingbird (Appendix J). Although disputed post revelation, with the assertion that nothing had been banned from the syllabus, a further sews article proceeded to reveal the removal from the reading list of several non-British authors.Gave maintains that this is to provide a much better and deeper understanding of a broader spectrum of literature for the pupil, but the British content of the syllabus very much mirrors the study of British music c ontained in the music syllabus. This may be linked back to a desire to increase cultural awareness and a pride in British culture, given his previous work at The Policy Exchange, a think tank for policies and implementation of anti-terror policies and society improvements. This belief is somewhat retired by the very recent and public dispute between Gave and the Home Secretary, Theresa May. May questions if the Department of Education acted correctly when it Was warned in 2010 (May, T 2014) as regards the issue of an Salamis plot to radicalism schools in Birmingham. Coves response that Whitehall does not tackle extremism early enough lends more credence to the idea that he regards pride in nationality as a high priority (Appendix K). On balance, whilst it is entirely possible to apply almost every single aspect of the above thesis to suggest the reasoning behind Michael Coves curricular upheaval, I find it impossible to pinpoint any single theory which could be perceived as a solid basis for the thinking behind the significant changes made. Presented together, the collective arguments amount to a relatively persuasive proposal to persuade one as to the validity of the pursuit of further research into the topic.However, would not have supposed that this proposal, without much further and detailed research and data, would have been persuasive enough to warrant any change to the curriculum. The decision to alter the curriculum, having found no other evidence to obstinate or corroborate the initial surveys, has, in my opinion, been based less on sol id subject knowledge or correctly recorded informative data, and more on an unstable foundation of ideas and disparate thoughts. Decisions made on such a basis as this hold little factual weight, and it is small wonder that the academic world has questioned the relevance and validity of the initial research.Such a departure from the usual teaching guidelines and standards will require an extra level of work from the teaching staff, and, certainly in the case of the music syllabus, may well demand a level of chemical capabilities beyond some. I envisage this to be a major stumbling block for many music teachers, who may find themselves being taught by those pupils who are already composing and editing digital music as part of their daily life routine. This in itself places an enormous strain on both the teaching fraternity and possibly school budgets, should extra coaching be required by external specialists in order to fulfill this possible skills gap.