performance

Is Musical Performance Worth Saving?

For the very first time in human history, the question posed as the title of this article can be,
and, I believe, must be asked. (Reimer 1994, p.1)

Reimer’s question, which has been borrowed for the title of this short paper, is an important one
for all music educators. Maybe you consider it a strange way to start a piece about musical
performance? But Reimer’s concern should spur us to think carefully about the practice and purpose
of musical performance within music education. We will consider three questions:

Author name: 
Jonathan Savage
Description: 

Musical performance has become a matter of choice not necessity
Sound recording and playback technologies have had a number of consequences in our Western culture
(Chanan 1995). Access to music of an incredible range and quality has increased dramatically. The
consequence of this increased availability is that people can now experience music of a diversity
and complexity far beyond their own abilities to produce music. Musical performance has become an
activity of choice rather than necessity.

Is Musical Performance Worth Saving?

For the very first time in human history, the question posed as the title of this article can be,
and, I believe, must be asked. (Reimer 1994, p.1)

Reimer’s question, which has been borrowed for the title of this short paper, is an important one
for all music educators. Maybe you consider it a strange way to start a piece about musical
performance? But Reimer’s concern should spur us to think carefully about the practice and purpose
of musical performance within music education. We will consider three questions:

Author name: 
Jonathan Savage
Description: 

Musical performance has become a matter of choice not necessity
Sound recording and playback technologies have had a number of consequences in our Western culture
(Chanan 1995). Access to music of an incredible range and quality has increased dramatically. The
consequence of this increased availability is that people can now experience music of a diversity
and complexity far beyond their own abilities to produce music. Musical performance has become an
activity of choice rather than necessity.

An Assessment Scheme to Promote Autonomy in the Development of Performance Skills in Music Education

Introduction

This paper examines issues involved in designing an assessment process to develop musical
performance skills in first-year BA/PGCE Music Education students at London Metropolitan University,
so as to prepare them to meet the academic and professional challenges of the course.

The standard of performing skills necessary for a classroom teacher is not prescribed. While the
Teacher Training Agency (TTA, 2002) specifies that students must demonstrate a secure knowledge of

Author name: 
David Cross
Description: 

This article first appeared in Investigations in University Teaching and Learning Vol 1, No 2,
Winter 2003, London Metropolitan University. Thanks to the Author and London Metropolitan University
for permission to reprint this article electronically.
Extract

Learning how to Teach Singing in the Primary School

Summary

This module has been designed to support the teaching of singing by tutors with some understanding of how to set about the task. Resources include links to songs, discussion materials, links to published resources and web-based video materials, academic texts and student activities. The intention is to balance skill development in singing with pedagogical awareness and critical understanding. The module consists of three phases:

   1. (Pedagogy) What is there to think about in learning how to teach singing in the primary school?

Author name: 
Ian Shirley
Author photo: 
Resource image: 
Description: 

This module has been designed to support the teaching of singing by tutors with some understanding of how to set about the task. Resources include links to songs, discussion materials, links to published resources and web-based video materials, academic texts and student activities. The intention is to balance skill development in singing with pedagogical awareness and critical understanding. The module consists of three phases:

   1. (Pedagogy) What is there to think about in learning how to teach singing in the primary school?
   2. (Strategy) How do you teach a song?
   3. (Critical awareness) What are the issues to be aware of?

The activities and materials have been designed to provide a sensitive approach to getting students singing. There is an attempt to identify free resources which could support students’ work in schools, and there is an opportunity for critical reflection on current initiatives in primary singing.

Recording Songs And Accompaniments Using Audacity

Submitted by John Oates on 7 March 2010 : 11AM :

A music course for non specialist primary teachers and TAs will take place on Tuesday 20 April 2010at the Halliwell Jones Stadium, Warrington - 9.30am - 3.30pm.During this day participants will become familiar with the key features of the sound editor programme Audacity, develop skills for recording song and simple accompaniments and create a multimedia project making use of Photostory.

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