Inclusive education policy in the Hong Kong primary music classroom

An education reform policy and inclusive education policy have been implemented in Hong Kong for over a decade. As more students with special educational needs have entered the mainstream education system under these policies, Hong Kong's primary music classrooms offer a site where three policies interact—the education reform policy entitled “Learning to Learn,” the policy of inclusive education, and the undeclared “policy” of making savings in the government budget. This article seeks to explore the results of the interaction of these three policies. A qualitative study was carried out to investigate the views of Hong Kong primary school music teachers on the policy of inclusion in relation to music teaching. Insufficient support in inclusive learning in “non-core” subjects, such as music, is evidenced.     

Addressing dimensions of “The Great Moral Wrong”: How inequity in music education is polarizing the academic potential of Australian students

The intrinsic and extrinsic benefits of music education incorporate academic, social, emotional, and behavioral spheres. To deny students access to music education essentially locks them out of such benefits, limiting their potential. Music education programs have declined significantly in Australia in the last few decades and access to such programs serves as a reminder of the widening gap of inequality in the Australian school system. The reasons for the decline in music education, both at a preservice and inservice level, and the political landscape which has influenced and undermined the concept of a level playing field in public education are interrelated. Through extensive data analysis, a picture of how and why music education serves as an example of wider issues of access and equity in Australian schools will be demonstrated.     

Intersections between music education and music therapy: Education reform,arts education,exceptionality, and policy at the local level

In this article, a music teacher educator and a music therapy clinician and educator discuss special education policy and arts instruction at the district level. To illustrate the gulf between federal and local policies with regard to exceptional learners and arts instruction, we examine the intersections of music therapy and music education with regard to self-contained classes of students with moderate to severe disabilities. Our discussion focuses on provision of services and opportunity to learn, and results in specific policy suggestions, including: (a) increasing administrators' understanding of music therapy, adaptive music education, and music education, so that decisions regarding arts instruction can be better-informed and more child-centered, (b) treating music therapists as allied health professionals who do not need to be certified teachers to practice in schools, and (c) improving initial music teacher preparation and providing opportunities for professional development to increase awareness of necessary information and effective strategies to improve music teaching and learning for students with special needs.     

Estimating the effect of music and arts coursework on college admissions outcomes

The purpose of this study was to examine postsecondary admissions outcomes for music and arts students as compared to their non-arts peers using nationally representative data (N = 14,900) from the Education Longitudinal Study of 2002. Controlling for certain observable differences between students who do and do not elect arts courses, music students were more likely to apply to college and to attend college than their non-arts peers. Arts students were similar to non-arts students in terms of college selectivity and pursued science, technology, mathematics, and engineering majors at similar rates to non-arts students. This analysis suggests taking arts coursework in high school does not hinder successful college admissions outcomes as may be feared by well-intentioned guidance counselors or parents. Implications for college admission and local policies are considered.     

Exploring the global decline of music education

This article seeks to explain the disjuncture between the decline of music education in schools and the importance music has in popular youth culture and in creativity within the new knowledge economy. The data discussed in this article have been derived from analyses of major documents on curriculum reform as well as e-mail responses from music educators around the world. This analysis reveals that these music educators agree with the perception of a demise in music education around the world, as well as the significance of the disjuncture alluded to. The four major reasons found for the decline in music education are: (1) the model of curriculum supported in educational reforms; (2) an emphasis on standardized evaluation; (3) less resources available; and (4) a wrong approach on music advocacy.     

Teaching music in the flat world: Reflections on the work of Darling-Hammond and Rothman

Authors and scholars published within Arts Education Policy Review have been diligent to investigate various topics surrounding music educator preparation, mentoring, retention, as well as avenues for continued professional development and growth. Linda Darling-Hammond and Robert Rothman, along with various chapter authors, address education reform on an international level within Teaching in the Flat World: Learning from High-Performing Systems (2015 Rothman, R., & Darling-Hammond, L. (2015). Teaching quality initiatives in the United States. In L. Darling-Hammond & R. Rothman (Eds.), Teaching in the flat world: Learning from high-performing systems (pp. 6–27). New York, NY: Teachers College Press. [Google Scholar]). The purpose of this article is to examine the recommendations presented by Darling-Hammond, Rothman, and colleagues through the lens of music education research and policy review. Specific areas of focus include: (a) recruitment and rigor of teacher education programs, (b) alternative routes into the teaching profession, (c) teacher induction and new teacher support, (d) career advancement and professional development support, and (e) teacher evaluation.     

团队链式提升青年教师教学能力的探索与实践

青年教师是高校人才培养的中坚力量,其教育教学能力直接关系到人才培养质量的提升和立德树人根本任务的落实。华中农业大学“微生物学”教学团队基于当前教学现实之困,结合“五育融通”要求创建教学团队链式提升法,以“双团队,双导师”引领革新青年教师教育教学理念,提升青年教师教育教学能力,培育出两门国家级一流课程和一支湖北省教学团队,打造了范式推广的教育教学能力实践提升平台,有效践行了教书育人初心使命,致力培养为中华复兴而读书的时代新人。     

Why music matters in urban school districts: The perspectives of students and parents of the Celia Cruz High School of Music,Bronx, New York

Despite their long history and importance in the American curriculum, music programs must constantly justify their place in the twenty-first century. Urban areas that are economically depressed sometimes may not be able to offer music instruction due to the emphasis on raising test scores as well as unfavorable economic conditions that may limit their options. Despite these challenges, community leaders and educators successfully established a school of music in the Bronx, New York. Celia Cruz High School, the focus of this case study, was created to offer a musically centered curriculum in the borough of the Bronx as well as address the epidemic of large failing schools. Celia Cruz in its design and current state serves the population of the Bronx and reflects that demographic. Interviews with parents and students were carried out as a means of establishing the perspective of a musically focused education within this context. Based on interviews, parents and students of Celia Cruz value music as its own form of knowledge and view it as a vital part of the academic lives of the students of Celia Cruz High School. The purpose of this study was to share the stories, perspectives, and experiences of the Celia Cruz community and the impact that a musically focused education could have on the lives of students in the Bronx, New York.     

Five fundamental constraints on theories of the origins of music

The diverse forms and functions of human music place obstacles in the way of an evolutionary reconstruction of its origins. In the absence of any obvious homologues of human music among our closest primate relatives, theorizing about its origins, in order to make progress, needs constraints from the nature of music, the capacities it engages, and the contexts in which it occurs. Here we propose and examine five fundamental constraints that bear on theories of how music and some of its features may have originated. First, cultural transmission, bringing the formal powers of cultural as contrasted with Darwinian evolution to bear on its contents. Second, generativity, i.e. the fact that music generates infinite pattern diversity by finite means. Third, vocal production learning, without which there can be no human singing. Fourth, entrainment with perfect synchrony, without which there is neither rhythmic ensemble music nor rhythmic dancing to music. And fifth, the universal propensity of humans to gather occasionally to sing and dance together in a group, which suggests a motivational basis endemic to our biology. We end by considering the evolutionary context within which these constraints had to be met in the genesis of human musicality.     

Music teacher stress in the era of accountability

While there is an established body of literature on teacher stress and on the factors that may make music teaching uniquely stressful, there has been little or no research on how the recent era of accountability influences music teacher stress. In this article, I review the literature on music teacher stress and on how accountability reforms may impact this experience of stress. I then detail the findings of an interview-based multiple case study I performed with instrumental music teachers in Michigan. I present the findings through a model of an earthquake (the accountability reforms) and its main shocks/aftershocks (the particular stressors caused or influenced by the reforms). “Main shocks” of the accountability “earthquake” included stress over changes to teacher evaluation, changes to teacher tenure, and the need for the teachers’ schools to improve their test-score-based school ratings. “Aftershocks” included intensification from increased workload, a general atmosphere of building-level stress, uncertainty, and a recasting of the significance of large group performance festivals. Finally, stress from the main shocks and aftershocks combined with “normal” job stressors to increase the cumulative experience of stress. Implications for teachers and researchers are offered.     

Assessing the concept of controlled experiments in science teachers

Biology teachers, attending a post-graduate training course, were given a written test in which they had to identify the controlled set-up in two different experiments. A teaching strategy was designed to help the subjects to construct and consolidate an understanding of controlled experiments, in line with scientific inquiry methods, by following the process of hypothesis, formulation and testing.     

Correlations in the population structure of music,genes and language

We present, to our knowledge, the first quantitative evidence that music and genes may have coevolved by demonstrating significant correlations between traditional group-level folk songs and mitochondrial DNA variation among nine indigenous populations of Taiwan. These correlations were of comparable magnitude to those between language and genes for the same populations, although music and language were not significantly correlated with one another. An examination of population structure for genetics showed stronger parallels to music than to language. Overall, the results suggest that music might have a sufficient time-depth to retrace ancient population movements and, additionally, that it might be capturing different aspects of population history than language. Music may therefore have the potential to serve as a novel marker of human migrations to complement genes, language and other markers.     

Effects of blood flow to the prefrontal cortex on high-intensity exercise combined with high-decibel music

We studied the effects of high-intensity exercise (70-75% of VO₂ max) combined with high-decibel music (100 dB) on cognitive function (measured by the Stroop test) and related blood flow changes to the prefrontal cortex (measured by Oxy-hemoglobin (Hb), Deoxy-Hb, tissue oxygen index (TOI), and normalized tissue hemoglobin index (nTHI)). The subjects of the study were 28 healthy female university students in their early 20s. Subjects were categorized into control group (CG), music group (MG), exercise group (Ex), and music and exercise group (MnEx). A crossover design was implemented so that all subjects participated in all test groups. We found no significant difference in reaction time between CG and MG for the neutral and incongruent tasks of Stroop test. However, there were significant improvements in the neutral and incongruent tasks for both the Ex (p < 0.01) and MnEx (p < 0.01) groups. Oxy-Hb measurements in the prefrontal cortex of the brain supported the Stroop test data. We found no difference between Ex and MnEx in the TOI; however, there was a significant decrease (p < 0.05) in MnEx compared to Ex. In addition, Ex resulted in a significant increase (p < 0.05) in nTHI as compared to CG. These results indicate that high decibel music could negatively affect prefrontal cortex activation of the brain during exercise.     

Prolegomenon for a hypothesis on music as expression of an evolutionary early homeostatic feedback-mechanism. A biomusicological proposal.

Musical experience and creativity are regarded to be largely depending on cultural conditions and hence on higher cognitive functions. True as this may be, there are, however, numerous responses to music-the urge to make music taken into account-which derive from deeper levels of the human organism, namely from arousing alternatively moderating vegetative and limbic functions. Although the behavioral intensity and quality emanating from such evolutionary early nervous structures may be affected by cultural influence, they still seem to be essentially independent. Similar specific responses to acoustical and/or motor patterned stimuli are found among some other higher vertebrates which like humans are equipped with sophisticated mechanisms for hearing, sound production and locomotion, well tuned to each other. However, it is even today an open question whether these manifestations of auditive-phonatory-locomotor abilities just are analogues or if they share a common evolutionary background. The current discussion on this matter has accumulated data which apparently support the latter view pointing to that sexual selection would be the common force, first suggested by Charles Darwin (153). Other, and still more recent data in genetics and neuroscience, may be interpreted as hints at that the common origin would be a more elemental organismic feature, a metabolic-homeostatic variable which due to its evolutionary strength eventually created the platform for a radiation of adaptations concerning species-specific patterned sounds and locomotions with a broad spectrum of tasks, among them sexual selection. This line of reasoning is here, under reference to recent biological data, made the basis for a hypothetical model of music as an expression of an early homeostatic feedback mechanism. Accordingly, in music there is a central variable, a “heart” or a “core”, which is not to be found exclusively in music but appears globally as a releasing mechanism for basic endocrine, autonomous and elementally cognitive functions. It is of acoustical or motoric nature, or of a combination of these characters, and is performed in repetitive trains of impulses. It is further assumed that the target of its operations is mainly proteins with a regulatory effect on the cellular and synaptic states. The principal representatives for these proteins are growth factors, especially the NGF which originally was regarded as a growth stimulator within the peripheral and sympathetical systems but which eventually appeared to be also a synergetic modulator of neuro-endocrine-immuno-reactions, i.e. of the three central homeostatic systems (5, 80). One can speculate that this variable is functionally active at an elemental level such that it has escaped to be knocked out by forceful “higher” and evolutionary younger factors (49:13). This hypothesis — that music has its roots within and is a part of a globally occurring natural acoustical-motoric stimulus, manifested in a great variety of auditory and motoric behavior in humans and among some other higher vertebrates — implies that humankind has developed this stimulus into a category of acoustical structures which oscillate round an instable point of equilibrium. Exactly such structures, not stochastic but neither too predictable, affect the organism mainly on a sensory-vegetative level (59, 102, 137, 151). They are in addition perceptionally optimal in creating cortical space-temporal neural patterns with strong interhemispheric coherence (110, 130). According to this scenario, music did not originate from a human need of communication or as an aspect of sexual selection. It emerged from elemental processes within the individual organism with the aspiration to maintain his bodily and mental fitness, thus on a pre-social level. What was beneficial to the single individual in his fight for survival, was good also for the group and its survival. Starting from that platform music has evolved in symbiosis with dance and play within a large spectrum of social functions, where sexual selection and ritual and autonomously aesthetical tasks got a focal role that increased over time and always was accompanied by emotional events. Behind, the ticking in the deep structure of music of this in cultural-ethical terms totally value-neutral archaic mechanism goes on without pause, contributing to the maintenance of an optimal functional balance in body and mind of the individual, and the group as well.     

Harmonic medicine: the influence of music over mind and medical practice

The Yale Medical Orchestra displayed exceptional talent and inspiration as it performed a timeless composition to celebrate Yale School of Medicine's bicentennial anniversary during a December 2010 concert. Under the leadership of musical directors Robert Smith and Adrian Slywotzky, the richly emotional meditations of Mendelssohn, Dvorak, Schubert, and Yale's own Thomas C. Duffy filled the minds and hearts of an audience as diverse as the orchestra. I intend to retrace the steps of that melodic journey in this essay, fully aware of the limits imposed on me to recreate the aural art form through the medium of text. While these symbols can be pale representations of the beauty and complexity of the music, I hope they will be the building blocks for the emotional experience of the audience. I describe the works' inception and their salient musical features and then review what we know about the effects of melody, meter, and timbre on our brains. My intentions are to provide evidence to encourage the further use of music as a tool in medical practice, provide interest in the works explored by the Yale orchestra, support the orchestra itself, and investigate a personal passion.     

The Impact of a Funded Research Program on Music Education Policy

Sounds of Learning: The Impact of Music Education is a research program designed to allow researchers to examine the roles of music education in the lives of school-aged children to expand the understanding of music's role in a quality education. The NAMM Foundation, the sponsoring organization, has provided more than $1,000,000 to fund research on the impact of music education on student achievement and success in school; all aspects of a child's growth and development; the uses and functions of music in daily life; and home, school, and community environments. Quality research about the role and impact of music education conducted by experienced researchers who publish in rigorous, peer-reviewed, scientific research journals plays a vital role in moving a public policy agenda forward to achieve expanded access to music education for all children. The goal is that this research will inform policy debates and development to achieve policies that support opportunities for every child to experience the power and benefits of learning music.     

Comparing the effects of art education and science education on creative thinking in high school students

What is the link between art and creativity? The purpose of this study was to determine the role of art education in creative thinking. A causal-comparative research design was used. Arts and science high school students (N = 162) participated. Results showed that creative thinking in visual arts students in Grade 10 with high scores differed significantly from that in music and science students; however, this difference was not found among students in Grade 11. A main reason for this result in Grade 10 students might be the non-routine problem-solving process in visual arts education, in which artwork production is an important component in creative thinking development. Considering this result, it was concluded that the effect of different education disciplines—called education department effect—on creative thinking can be significant.     

Emotional intimacy with nature and life & intellectual interest in life of pre-service biology teachers for environmental education

We investigated emotional intimacy with nature and life, and intellectual interest in life among South Korean pre-service teachers (N = 114) training in biology education, analysing the differences between these two constructs as well as their relationship to environmental behaviour and sensitivity. In addition, differences in the respondents’ experiences of nature, concerns about environmental problems and willingness to perform environmental education were explored. Four groups of pre-service biology teachers, categorised by the two investigated personal variables, showed different responses for the environment-related characteristics and other variables. Our results suggest that biology teachers should have higher emotional and intellectual interest in nature and life, and a balance between emotional intimacy with nature and life, and intellectual interest in life is needed to prepare them.     

A Plan to Coordinate the Culture of the Three Americas

Music education has always required advocacy to solidify its place in the school curriculum. Music teachers are increasingly called on to justify their existence and importance in the schools, and yet, are often unprepared to advocate on their own behalf without the use of advocacy materials that are created on the basis of questionable research, questionable interpretations of valid research, or materials that demean the profession. This practical advocacy crisis is created by the lack of a solid philosophical basis for music education advocacy, the profusion of questionable advocacy materials available, and the lack of lobbying at the federal and state levels for meaningful laws that give arts education true core status. In the article, the author discusses suggestions for improving advocacy methods and materials.