Teachers’ perceptions of the impact on students of the Musical Futures approach

Hallam, Susan; Creech, Andrea; McQueen, Hilary

doi:10.1080/14613808.2015.1108299

Cited by 35 publications

(48 citation statements)

References 11 publications

(14 reference statements)

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“…Along with its success, Musical Futures has faced significant challenges in its short existence. A study conducted by Hallam, Creech, and McQueen (2011) found that some music teachers feared losing control of the classroom through a Musical Futures approach. Additionally, some felt that their traditional musical training at times put them at a disadvantage to guide students in popular genres (Armon-Anderson & Lemar-Denson, 2015; Baker, 2012).…”

Section: Literature Review: Popular Music Pedagogiesmentioning

confidence: 99%

“…Furthermore, educators shared that students working in groups autonomously sometimes lost focus, that it was difficult balancing the support of student autonomy and their need for help, that lack of access to instruments could impede the instrumental development of students, and that it was challenging to instill practicing routines other than “repetitive” and “traditional” ones. In addition to the problems raised in the Hallam et al (2011) survey, friction can occur from adopting informal music learning practices within the bureaucratic functioning of a school, considering that informal music learning can impede the achievement of broader curricular goals as well as contradict the educational philosophy of music teachers (D’Amore & Smith, 2017; Green, 2014). Moreover, adopting the Musical Futures approach generates the risk of students disregarding their teacher’s competencies (Pitts, 2011).…”

Section: Literature Review: Popular Music Pedagogiesmentioning

confidence: 99%

“…Moreover, adopting the Musical Futures approach generates the risk of students disregarding their teacher’s competencies (Pitts, 2011). Relatedly, some teachers worry that students might prefer to follow the lead of professional musicians from the community rather than their teachers (Hallam et al, 2011), potentially undermining their authority as educators. There is also a concern among some music education scholars that adopting informal music learning practices and engaging with popular musics in school hinders the probability of students taking part in lifelong music making.…”

Section: Literature Review: Popular Music Pedagogiesmentioning

confidence: 99%

“…The presence of additional tutors somewhat helped the running of the performance unit. The tutors provided encouragement and, most importantly, were able to guide the students through the process of rehearsal, helping to instill practice routines which Hallam et al (2011) had identified as a challenge for learners in Musical Futures programs. Tutors were also able to give additional guidance in reading tablature and were able to teach by rote when it suited the needs of the students.…”

Section: Exploring the Data: Year 1 Of An Urban Arts Music Programmentioning

confidence: 99%

“…The experience led Nathan to think about how his background in jazz, classical, and pop music dictated his musical biases; although Nathan had an expansive musical repertoire, one of the reasons he was hired at MHS, he still felt some of the limits of his training, identified as an issue by other educators working in the Musical Futures model (Hallam et al, 2011). Hip Hop music is historically sample-based music.…”

Section: Exploring the Data: Year 1 Of An Urban Arts Music Programmentioning

confidence: 99%

See 4 more Smart Citations

Listen to the tastemakers: Building an urban arts high school music curriculum

Gage¹,

Low

Reyes

2019

Research Studies in Music Education

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In partnership with academics from McGill University and community arts partners, a high school in Montreal faced with significant challenges became an “urban arts school,” offering music and visual art programs centered in youth culture, as well as integrating arts into several academic subjects. The initiative was inspired by the school’s popular extra-curricular activities, which included a Hip Hop literacy club that ran beat making and rap writing workshops. Considering the popularity of these activities, the school decided to offer a music education program focused on musical skills through real-life music making activities that resemble those employed by popular musicians. This article chronicles the development of this music education program from the perspective of the music teacher, including the experience of continual adaptation to the needs and interests of students. The program is one of the first to combine Musical Futures, an approach to music education that promotes the combination of non-formal music teaching, informal music learning, and students’ interest in a formal school setting, with Hip Hop Based Music Education, predominantly located in community settings. This case study showed that students benefited from having an open-minded and committed educator with experience in popular musics. The co-teaching by professional Hip Hop artists also supported student progress and engagement by adding authenticity to the music making process. Furthermore, the alignment of the music program with the general school ethos contributed to its success. The paper also highlights the need to balance the development of musical skills with student engagement, and the informal music learning philosophy of Musical Futures with direct instruction associated with formal school settings.

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Section: Literature Review: Popular Music Pedagogiesmentioning

confidence: 99%

Section: Literature Review: Popular Music Pedagogiesmentioning

confidence: 99%

Section: Literature Review: Popular Music Pedagogiesmentioning

confidence: 99%

Section: Exploring the Data: Year 1 Of An Urban Arts Music Programmentioning

confidence: 99%

Section: Exploring the Data: Year 1 Of An Urban Arts Music Programmentioning

confidence: 99%

See 3 more Smart Citations

Listen to the tastemakers: Building an urban arts high school music curriculum

Gage¹,

Low

Reyes

2019

Research Studies in Music Education

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Research‐informed teaching: The case of Musical Futures

Mariguddi

Cain

2022

British Educational Res J

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Drawing on descriptions of research-into-practice initiatives, this article presents a new framework to aid understanding of how research findings influence educational practice at scale. The framework focuses upon five areas: trustworthiness of the findings and generalisability; implications and instructions for practice; support for implementation; fidelity of the implementation; and accountability. Green's informal learning model for music education is focused upon as one example of how research findings influence classroom practice, explored through the lens of the framework. The empirical research was conducted in two phases: (1) semi-structured interviews were conducted with key figures relating to the initiative; (2) four case studies were undertaken, involving secondary school music teachers and their pupils. The research examined the extent to which research-informed teaching was evident in the schools, and what factors might influence this. Methods used within the case studies included observation, interviews and document sources. Data was analysed thematically. It was found that Green's model was evident in the case study schools to some extent, but there was a gap identified between Green's underpinning research

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Music always helps: Associations of music subject choices with academic achievement in secondary education

Levstek,

Elliott,

Banerjee

2023

British Educational Res J

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This paper investigates the relationship between music qualification choice and academic performance in secondary education in England at Key Stage 4 (KS4; usually at ages 15 and 16). We analysed data from 2257 pupils at 18 educational settings in a city in the southeast of England. Two regression analyses with clustered errors modelled KS4 music qualification choice and GCSE academic achievement in English, Mathematics and other English Baccalaureate subjects, while controlling for a range of demographic, academic and socio‐economic variables. Choice of music as a subject at KS4 was positively associated with the total volume of KS4 qualifications entered for examination and was also predicted by coming from an affluent neighbourhood. Furthermore, this choice of music at KS4 was associated with greater academic performance on English Baccalaureate subjects above and beyond other significant predictors (gender, language, prior academic achievement, total volume of KS4 qualifications and neighbourhood socio‐economic status; local Cohen's f‐squared = 0.09). These results point to moderate but significant additive effect of studying music at KS4 in relation to performance on core GCSE subjects. We also found that schools with KS4 music qualification choice greater than the national average were higher in overall academic attainment, in the proportion of pupils attending extra‐curricular instrumental lessons, and in our composite measure of school's engagement with a local music education hub. The results are interpreted in light of sociological theories of education in an attempt to better understand the underlying systemic factors affecting youth music engagement.

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Teachers’ perceptions of the impact on students of the Musical Futures approach

Cited by 35 publications

References 11 publications

Listen to the tastemakers: Building an urban arts high school music curriculum

Listen to the tastemakers: Building an urban arts high school music curriculum

Research‐informed teaching: The case of Musical Futures

Music always helps: Associations of music subject choices with academic achievement in secondary education

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