ââåhow Music Education Helps Students Learn Achieve and Succeedã¢â❠Arts Education Partnership

A framework for school leaders to plan and strengthen their school music programs.

On this page

• Well-nigh the framework
• Characteristics of quality music education
• Factors supporting quality music education
• Power and impact of music education
• References
• Useful links

About the framework

The purpose of this Quality music educational activity framework (the framework) is to:

• demonstrate the importance of music instruction
• assist school leaders to identify what needs to be in place for commitment of a loftier quality music plan
• provide access to quality music programs.

This framework complements the framework for improving pupil outcomes.

Evidence is strong and consistent that in addition to the intrinsic value of learning about music, exposure to quality music teaching provides students with a range of developmental benefits, including positive social, cultural and educational outcomes (Arts Education Partnership 2011, Caldwell 2012, Parliament of Victoria 2013, Hallam 2015). ​

This framework provides an bear witness base to back up Victorian school leaders to program and strengthen the effectiveness of their school music programs by giving consideration to six characteristics of quality music education:

• date
• excellence
• creativity and action
• pupil-centred learning
• progression
• actuality.

A quality whole-school music program needs to meet the diverse needs of each school and volition differ across schools depending on their needs. The six characteristics identified in this framework will exist consistently present.

This framework complements the framework for improving pupil outcomes, which uses the latest inquiry on student learning and global best-practise to assist schools to focus their efforts on key areas that are known to have the greatest bear upon on schoolhouse comeback. In item, information technology supports the priority areas of excellence in teaching and learning, positive climate for learning, and customs engagement in learning.

This framework also aligns to the Victorian Early Years Learning and Development Framework, Marrung: Aboriginal Educational activity Plan 2016-2026, and the Victorian Curriculum F–10.

Strengthening the pattern and delivery of music programs volition reach positive benefits for students, schools and the community through:

• increased opportunity for Victorian children and immature people to participate in quality music teaching
• improved capacity and confidence of teachers to deliver quality music education
• increased admission to music programs for students in disadvantaged school communities across Victoria
• increased pride and confidence in schools
• increased awareness of the value of music didactics amongst school leaders and communities.

As in other learning areas, engagement in music education may or may not lead to a post-school professional pathway. Still, interest in quality music education provides an enriched learning environment and supports improved learning outcomes across curriculum areas.

Characteristics of quality music education

This framework provides an testify base to back up Victorian school leaders to plan and strengthen the effectiveness of their school music programs by giving consideration to half-dozen characteristics of quality music education.

This should exist read in conjunction with the suite of loftier impact pedagogy strategies for excellence in teaching and learning, which accept been developed to support schools to reliably increment student learning.

Appointment

 A student's appointment with music teaching occurs beyond three dimensions:

• behavioural
• emotional
• cerebral.

In general terms, a student demonstrates engagement when they:

• participate in all areas of the schoolhouse including academic, social and extracurricular activities (behavioural date)
• feel included in the schoolhouse and take feelings of belonging to the school (emotional engagement)
• are personally invested in and take buying of their learning (cognitive appointment).

Characteristics of strong student appointment with music education include active, equal and sustained participation, excitement and inquisitiveness. An engaged educatee enjoys the majority of their musical experiences and feels proud of their achievements while also experiencing the challenges and frustration inherent to learning any new skill.

Teachers should work closely and take a positive working relationship with students so they tin:

• accept part in rewarding practise sessions
• are confident to perform
• are creative
• can take responsibleness for their own learning.

Students are more than likely to engage positively when exposed to:

• learning experiences that are rich and varied
• dissimilar and diverse musical traditions and styles from a range of historic, social and cultural contexts.

Excellence

Excellence means:

• students are able to demonstrate progress in their learning against the Arts music accomplishment standards of the Victorian Curriculum F–10
• students make progress in their musical understanding because of high expectations for good quality music-making
• students are able to create and express their ain musical ideas that show an understanding of how pitch, duration, dynamics, timbre, texture and structure piece of work together
• schools provide opportunities for student performance
• schools celebrate and value student accomplishment in music.

Creativity and activity

Practical music-making is at the heart of all musical learning:

• Effective teachers emphasise developing strong aural skills to help students build the capacity to respond musically in all their music-making.
• Schools give students every opportunity to experiment with instruments and voices and to experience making music with others.
• Students develop an appreciation and understanding of music through active interest as creators and performers of, and listeners to, music from a diverse range of styles, traditions and cultures.
• There is an atmosphere of collective learning, with teacher and students supporting each other to develop and excel.

Educatee-centred learning

This involves the wider context of students' lives, including their cultural needs and identities:

• Educatee-centered learning involves teachers designing and delivering activities advisable to the musical and other learning needs of students.
• Teachers review and adapt activities over the course of lessons and programs according to how students are responding.
• Effective educators genuinely take into account students' musical interests outside of school in the blueprint and commitment of music programs.
• Lessons are inclusive, with all students participating in a range of musical activities.
• Learning experiences are rich and challenging for all students, helping them larn and abound in a diversity of ways.
• Schools and teachers seek and answer to students' views, enabling students to develop ownership of their learning and a sense of belonging in the music program.

Progression

Schools measure learning progress against standards of excellence and achievement and a pupil'south personal mastery:

• Teachers give regular, structured feedback in response to student do, providing advice and learning opportunities to facilitate improvement.
• Students identify their ain improvement pathways, both individually and together with their peers, with encouragement from teachers.
• Students develop their skills and knowledge through practical music-making informed by accurate assessment.
• Teachers facilitate students' holistic agreement across all areas of musical activeness over fourth dimension.
• Through determinative cess, teachers listen to students' musical responses and back up them to correct any errors or misconceptions by modelling and precise explanation.
• Frequent recordings aid students develop their listening and self-cess skills.
• Schools identify the steps to achieve expected standards so that teachers and students are clear about what is expected, and students understand how to build their skills and noesis.

Authenticity

The music teacher recognises and nurtures students' musical development besides as their wider understanding of what it means to be a musician and the many reasons people make music:

• learning experiences are relevant for students
• tasks are contextual, purposeful and 18-carat and respect cultural traditions.

Other indicators of actuality in music-making are the use of innovation, imagination and creative thinking, also equally the relationship between a work and contemporary bug and events.

Factors supporting quality music instruction

Read the following data in conjunction with the Victorian Curriculum F-10.

The factors supporting quality music instruction programs align with the framework for improving educatee outcomes state-wide priorities that are proven to have strong bearing on the effectiveness of a school. In particular, it reflects the priorities of excellence in:

• pedagogy and learning
• positive climate for learning
• community engagement in learning.

More information on the framework for improving student outcomes.

Curriculum and pathways

Successful quality music didactics occurs when the music teaching programme is a role of the whole-school curriculum plan. Schools regularly review this plan to ensure continuous comeback. This aligns with the framework for improving educatee outcomes priority area of excellence in teaching and learning.

A quality music teaching program includes:

• providing scope for students to reach in a higher place expected standards
• developing students' appreciation and agreement of music from diverse styles, traditions and cultures
• allowing students to be music creators, performers and appreciators
• ensuring music-making is role of the wider context of students' lives
• ensuring students take a say in the program, encouraging a sense of student buying of learning
• ensuring it is interactive, incorporates frequent and varied performance opportunities in and outside class time, enables students to perform in the community, follows pathways to farther written report and music-making across school and uses digital technologies to create, collaborate and record.

Research shows that learning music has a significant touch on the cognitive, emotional, motor, social and personal development of students.

As a result of quality music education students should experience many benefits, including:

• an ability to manipulate, express and share sound every bit listeners, composers and performers
• a love of music and increased understanding of music and music-making
• a willingness to engage with diverse musical traditions and styles
• skills using digital technologies to create, collaborate and tape
• the development of positive social interactions, resilience, teamwork and trouble solving.

Pedagogy

Quality music education requires committed, inspiring and skilled teachers. Teachers analyze and reinforce the intent of each lesson and program, likewise as their expectations of students. They demystify and conspicuously explain musical processes, setting up an environment where students experience confident to experiment and have a get.

Leading teachers planning quality music education programs need to be aware that highly effective music teachers are able to:

• encourage positive pupil-teacher relationships and that students are trusted and given the confidence to perform, exist creative and have risks in a supportive, encouraging, and not-threatening environment. This is also achieved when teachers brand learning intentions clear and adjusted to an individual student's needs and abilities
• show students how to make connections between their music and the music of others, including a broad range of established composers and performers
• regularly monitor educatee progress, provide regular cess and feedback, clearly communicate what success looks like and celebrate success. The teacher besides has an understanding of a student's starting point and delivers activities appropriate to their musical and other needs
• take loftier expectations of musical excellence by providing high quality musical education opportunities, setting clear goals and enabling students to strive for and make progress higher up expected or higher up standards
• build their own capacity as teachers through professional learning, peer networks, consultation with school leaders and an ability to share do with other teachers
• be reflective and adaptable through reviewing and adapting teaching activities co-ordinate to how students respond, and have the capacity to take fourth dimension out for self-evaluation.

Co-curricular provision

Vocal and instrumental programs and lessons that occur outside regular form time are an integral part of an effective schoolhouse music program. These activities extend and enrich students' musical experiences and should be encouraged and supported.

Leadership and management

School leaders planning quality music didactics need a clear vision and documented programme for the development, provision and review of music programs in the schoolhouse. This procedure is consequent with the framework for improving student outcomes, and in particular the priority surface area of professional leadership.

The leadership team needs a sound understanding of the:

• school'southward music plan
• fundamental features of effective teaching and learning in music
• student progress and achievements
• the program'due south strengths
• areas for improvement.

Leading teachers participating in lesson observations can further develop understanding and review programs. Leadership teams also need to provide opportunities for teachers to share their practice and knowledge and provide access to professional person learning.

Community links

Partnerships and collaboration with the community and music manufacture organisations strengthens the quality of music education in schools. Schools should encourage students to nourish community musical events and music-making activities.

They should also encourage students to perform at customs music events or with community groups as a powerful way to supplement music programs and bring more music to the school culture. In building a successful program, leadership teams should too encourage teachers to connect with a network of experienced music teachers in other schools or their local expanse.

These activities chronicle to the framework for improving pupil outcomes priority of customs engagement.

Environment and resources

Schools should ensure planning considers physical factors in delivering music educational activity including:

• the educatee to instructor ratio
• appropriate music spaces
• any need for because music spaces in any time to come edifice evolution planning
• planning budgeting for any hereafter music equipment, including digital technologies.

Power and impact of music teaching

According to the highly regarded researcher Hallam (2015), effective music programs for children and immature people are interactive and enjoyable and they also provide opportunities for:

• developing new skills and performing
• acquiring cultural capital
• developing interpersonal bonds and solidarity in pursuing shared goals
• ongoing intensity and frequency of contact
• developing mutual respect
• recognition and rewards for excellence.

Hallam found that successful music programs need to comprise grouping work, opportunities for performance and a wide-based curriculum that includes activities related to pitch and rhythm, singing, instrumental piece of work, composition and improvisation and the reading of notation.

At that place is growing prove that shows agile music-making tin enhance a number of non-musical skills. Musical training (learning an instrument) has positive effects on:

• verbal learning and retention abilities
• literacy
• spatial reasoning
• some elements of executive functioning.

The benefits associated with learning an instrument are not apparent from participation in a choir or 'music appreciation lessons.' The evolution of artistic skills is dependent on the nature of the musical engagement and improvising, in particular, has a positive effect.

Although research shows that a kid'south socio-economic background can have an bear upon on the take-up of musical activities, there is prove to support the relationships between musical training and intelligence regardless of family unit background.

Inquiry has likewise establish that high-quality musical activities enhance:

• aspirations
• motivation
• attitudes towards schoolhouse
• attendance for disadvantaged students.

High quality music programs with a sense of student ownership, that are relevant, connected to a student'southward culture and involve agile music-making, take been institute to have a positive touch on disaffected learners, resulting in:

• a greater connection with the school community
• improved self-efficacy and self-concept
• increased motivation and general attainment
• improved behaviour
• better positive identity.

'Taken together, the bear witness suggests that music can be a vehicle for re-engaging young people in teaching and supporting those who are at risk in making changes in their lives. The context within which the projects operate is important in their success as are the musical genres focused on and the quality of the musical facilitators.'  (Hallam 2015)

In that location is powerful evidence that participating in group music-making:

• supports social cohesion and contributes to feelings of social inclusion
• supports social inclusion of newly arrived migrants and refugee students at school and in the community
• increases parents' omnipresence at cultural events
• improves self-esteem and reduces behavioural bug and aggression
• enhances peer relationships and working cooperatively
• improves social skills, cooperation, teamwork and communication
• improves conviction and resilience.

Participation and presentation

Thomas Turino'south (2008) categories of participatory and presentational music are specially useful in considering quality in music educational activity, and beingness inclusive. Turino defines participatory music every bit 'creative practice in which there are no artist-audition distinctions, only participants and potential participants performing different roles, and the primary goal is to involve the maximum number of people in some performance part'.

In contrast, presentational performance 'refers to situations where one group of people, the artists, set and provide music for another group, the audience, who exercise not participate in making the music'.

Participatory music-making is successful when it includes a proper balance betwixt inherent challenges and skill level for all participants regardless of their previous musical experience.

Turino also notes that people tend to return to activities that produce intense concentration and enjoyment (period) and as they practise so, their skill levels increment, requiring activities that take continually expanding and achievable challenges.

The aim of music education should be to maximise participation and date for all students of all levels of prior musical feel rather than focusing on the musical outcomes for a limited number.

Most teachers are the products of the music academy where presentational music-making is privileged ('performing canonised music from notation, for seated, convict audiences', Randles et al., 2015, p. 61), and this is reflected in the style in which music education (largely functioning-focused) is conceived of in schools.

The repertoire used is ofttimes culturally distant from the general school population and there is little contribution in determining musical content from the students. This is a tradition that is centuries old, and in that location are students who thrive in this model, heading for a career via the academy.

The bulk of students in secondary schools now, yet, are non office of the elective music classroom or co-curricular music-making. A focus on engagement and participation could significantly enhance the contour of music in all schools for all students.

The national review of school music educational activity (NRSME) (see below) noted this focus on engagement and participation.

National review of school music pedagogy (2005)

The findings of the NRSME (2005) remain as relevant today as they were in 2005, and are consistent with the literature generated in subsequent years.

This framework incorporates key ideas from the following NRSME quotes.

Key factors that contribute to a quality music education

'Key factors that contribute to a quality music instruction:

• participation, equity and date
• student achievement of music learning outcomes
• teacher cognition, understanding and skills
• curriculum articulation
• support for teachers and students including that provided by principals, systems and sectors
• parental and community support
• partnerships with music organisations.' (p.thirteen)

Excellence

'A quality music education – every bit identified by this review – provides a music education that focuses on participation and engagement, extension and, ultimately, excellence.'  (p.xxvii)

Participation, enjoyment and appointment

'Some people when they recall of quality focus on aspects of music performance. They enquire questions such equally:

• Is this student playing or singing with accurateness of pitch, rhythm, etc.?
• Is this student or group of students interpreting the music according to expectations of conventions of manner and form and time and composer's intention?'

'Terms such as "excellence" are associated with this arroyo.'

'There are other, boosted lenses possible that have a broader arroyo to the issue of quality. For example:

• How many students are participating in and engaged with music?
• Are all students included in music programs?
• What is the quality of learning for understanding?'

'Terms such as "participation" and "enjoyment" are connected with this arroyo.'

'These different perspectives are not nor should they be mutually exclusive.'

'The focus of teaching and learning is different for each of these different phases of the continuum. Participation, enjoyment and engagement are necessary for students to accomplish the high end of this spectrum of quality. Those who focus only on the highly polished technical finish of the spectrum sometimes undervalue the need for a wide base of participation and date.'

'Those who argue only for participation and enjoyment can sell students short. Effective music pedagogy begins with participation and enjoyment and moves through extension to expertise. Until students in schoolhouse music programs take made this progression, it will non be possible to say that they take had a quality music education. Until students entering teacher educational activity have had an education reflecting this progression, then the quality of music education in schools will exist held back.'  (NRSME, 2005, p.78).

References

Arts Instruction Partnership (2011). Music matters: How music education helps students learn, achieve and succeed. Washington DC.

Arts Quango of England. (2015). Using quality principles in work for, by and with children and young people.

Barrett, M. & Bail, N. (2015). Connecting through music: the contribution of a music program to fostering positive youth development. Research Studies in Music Pedagogy, 37(1), pp. 37–54.

Caldwell, B. (2012). Transforming education through the Arts. Routledge.

Department for Teaching. (2011). National Plan for Music

Department of Education and Training. (2018, Apr 4). Identifying students at run a risk

Department of Didactics and Training. (2016). The Marrung; Aboriginal Education Program 2016-2026

Section of Education and Training. (2016). Victorian Early Years Learning and Evolution Framework

Eerola, P-Due south. & Eerola, T. (2013). Extended music teaching enhances the quality of schoolhouse life. Music Teaching Research, 16(ane), pp. 88–104.

Gill, A. & Rickard, North. (2012). Non-Musical Benefits of School-Based Music Didactics and Training.

In North. Rickard and 1000. McFerran (Eds.), Lifelong Engagement in Music: Benefits for Mental Health and Well-Being (pp. 57–72). New York, NY: Nova.

Hallam, S. (2015). The ability of music. London:  International Music Teaching Research Centre.

Marsh, K. (2012). The beat will make you be backbone: The role of a secondary schoolhouse music plan in supporting young refugees and newly arrived immigrants in Commonwealth of australia. Research Studies in Music Pedagogy, 34(2), pp. 93–111.

Parliament of Victoria, Education and Training Committee. (2013). Inquiry into the extent, benefits and potential of music education in Victorian schools

Pascoe, R., Leong, S., MacCallum, J., Mackinlay, E., Marsh, K., Smith, B., Church, T. & Winterton, A. (2005). National review of school music.

Rickard, Due north. S., P. Appelman, R. James, F. Murphy, A. Gill, and C. Bambrick. (2013). Orchestrating Life Skills: The Consequence of Increased School-Based Music Classes on Children'southward Social Competence and Self-Esteem. International Periodical of Music Education, 31(three): pp. 292–309.

Turino, T. (2008). Music every bit social life: The politics of participation. Chicago: University of Chicago Printing.

Victorian Curriculum and Assessment Authority. (2015). The Victorian Curriculum

Appendix

QMEF Appendix (docx - 946.72kb)

Useful links

• Arts learning and teaching support
• Music education guide

For further communication and data, contact: music.eduction@education.vic.gov.au

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Source: https://www.education.vic.gov.au/school/teachers/teachingresources/discipline/arts/Pages/QMEF.aspx

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