Music Education in the Week 2 of The Place of Music in 21st Century Education - Universty of Sydney

I’ve just completed Week 2 of the MOOC “The place of Music in 21^st Century Education” presented by Dr. James Humberstone of the University of Sydney on the Coursera platform.

This week was in discussion the traditional methods and the new approaches in music education including the use of technology and the importance (or not) of teaching music theory indiscriminately to all people interested in learning music and those who have to do it in a regular basis inside a standard formal school.

Traditional music education usually considers that all the music students should make their formation in the basis of classical western music. This means to have a deep approach to music theory, learn a traditional acoustic instrument and be able to face the western music repertoire from the last five centuries, at least. In this model it is not taken in consideration whether or not the students want to play and practice music in this format and which is the repertoire that most pleases them somehow.

On the other hand, new approaches to music education aim to take in consideration to understand the students and have their opinion about what they want to play and work on the classrooms. This is the point of view of Lucy Green who defends an informal way of learning music with music theory in second plan and playing by listening in the first plan. More information can be viewed at http://earplaying.ioe.ac.uk/index.html.

In parallel the use of technology consists a strong part of music education and, with good use, a good tool in research and an endless fountain of help and ideas for the practice of music.

I follow much of the opinions of both, Lucy Green and Richard Gill, who was introduced to us in the last video. I understand, spread and use the idea that we, teachers, must be in touch with the musical taste of our students collecting their information about their preferences in musicians and repertoire and believe, as Mr. Gill says, that singing is essential to a good musical education. I insist that my popular guitar students sing and play as well.

Of course from what the students bring I select what is good or possible to play and introduce the stuff that I think would be good for their learning.

Technology makes an important role in this process. Thanks to this tool I can make easier researches, buy or print material from the Web and can use pre-recorded material such as playbacks or even the songs to give the chance to the students of playing as if they were part of a band or an ensemble.

In the case of repertoire, as I said, I see what they want, see how positive it can be, including the lyrics (if appropriated or not) but, in case of thinking in an instrument like the guitar, I try to include the basis of the practice of the instrument like scales, arpeggios, good posture and some pieces of the repertoire. As an example of this: if the student is not inclined to learn classical music and make essential studies of arpeggios or scales I will try to find popular music in which they can develop those skills.

All the points above refer to my work as a private teacher. This balance is harder to be reached when you work in a traditional school that follows the model of having classical music in the center of the studies even when it is clear that this is not what the students are inclined for and you are not making the main role in their education. That’s my case too.