Dimitra Kokotsaki

Trainee primary-school teachers’ perceptions of their effectiveness in teaching music

In England, there have been concerns that some primary teachers lack the necessary skills to teach the National Curriculum. The aim of this research was to ascertain the level of confidence of students completing a one-year primary teacher-training programme in relation to teaching in general and teaching music in particular. 341 students from four higher education institutions in England completed a short questionnaire. While almost all teachers had confidence in their ability to teach, only about half were confident about teaching music. There were statistically significant differences in response depending on whether the students played one or more musical instruments. Instrumentalists were more confident, those playing more than one instrument exhibiting the highest levels. Most students believed that more time should be spent on training, although they praised its quality. The implications of the findings are discussed and alternative ways of addressing the problem are considered.

Higher education music students’ perceptions of the benefits of participative music making

This study aimed to assess the perceived impact of music students’ active engagement in music making. Seventy-eight music students were asked to report on the impact that their participation in music making had on their lives. The data were analysed using Atlas.ti software. The findings fell within three categories: music making as a musical act, which allowed participants to deepen their musical knowledge and understanding; music making as a social act, where students felt that they were active contributors to a group outcome, developed a strong sense of belonging, gained popularity and made friends with ‘like-minded’ people, enhancing their social skills, and building up a strong sense of self-esteem and satisfaction; and music making influencing the self in terms of personal skill development facilitating the students’ personal identity and encouraging the development of self-achievement, self-confidence and intrinsic motivation.

Project-based learning: A review of the literature

Project-based learning (PBL) is an active student-centred form of instruction which is characterised by students’ autonomy, constructive investigations, goal-setting, collaboration, communication and reflection within real-world practices. It has been explored in various contexts and in different phases of schooling, from primary to higher education. The majority of the reviewed studies were based on a quasi-experimental pretest–posttest design with some baseline equivalence established but no random allocation of participants to control and experimental groups, and as a result, a causal link between PBL instruction and positive student outcomes cannot be established with certainty. Modern digital technology, group processes of high quality, teachers’ ability to effectively scaffold students’ learning and provide guidance and support, the balance between didactic instruction with in-depth inquiry methods and well-aligned assessment have been identified in the literature as facilitating factors in the implementation of PBL. The article concludes with six key recommendations considered to be essential for the successful adoption of a PBL approach in the mainstream school setting.

Pre-service student-teachers’ conceptions of creativity in the primary music classroom

This study explores pre-service teachers’ (referred to as student-teachers) notions of creativity in music, particularly in relation to the classroom. Seventeen student-teachers wishing to pursue a career in primary education were interviewed and completed questionnaires. In general terms, all participants talked about the high value of creative musical activities for primary age pupils as they recognized a wide range of benefits. However, the analysis revealed that some student-teachers held richer conceptions than others. Student-teachers holding richer conceptions: (a) provided more articulate and detailed answers, and were able to describe the creative process more accurately and comfortably; (b) had taught the lesson that they described and were more enthusiastic and keen to talk about it; and (c) tended to emphasize the learning that would take place during the creative process. These findings are discussed in terms of their practical educational implications in the primary music classroom and beyond.

Recognizing creativity in the music classroom

This study examined trainee music teachers’ judgements of the musical creativity of secondary age students. Nine pieces of music composed by Year 8 students (13 years of age) were evaluated by 17 postgraduate, trainee teachers. These musical pieces were sorted into a diamond-shaped formation according to how creative they were perceived to be with the most creative pieces placed at the top and the least creative ones placed at the bottom of the diamond. This approach helped the trainee teachers achieve some agreement in their evaluation of the students’ creativity. As well as a practical approach to recognizing musical creativity, the analysis of the trainees’ responses led to the identification of some attributes, such as representing the stimulus idea well and making imaginative use of musical elements and musical devices, which can help teachers to recognize, evaluate and promote children’s creative responses in music.

Pupil voice and attitudes to music during the transition to secondary school

Pupil voice research has been recognised in the last 15 years for its potential to re-shape the conditions of learning and help raise child engagement and standards of achievement. In music education, however, there still seems to exist a misalignment between the content of the curriculum and pupils’ learning expectations and interests. The aim of this study was to explore pupils’ views about school music during the transition to secondary school and identify which components of their music lessons contribute to them feeling happier about music at school. The analysis of interview and questionnaire data revealed some pupils’ disillusionment about music at the beginning of secondary school when their initial high expectations about opportunities for practical musical involvement were not met.

Pupils’ attitudes to school and music at the start of secondary school

Abstract This study aims to explore pupils’ affective engagement with school and music during their transition to secondary school. A gender comparison is also being made to ascertain any differences that may exist between boys and girls during this time. A sample of 182 pupils completed two questionnaires (attitudes to school and attitudes to music) three times (at the end of Year 6, at the beginning and end of Year 7). A series of one-way repeated measures analysis of variance tests showed that pupils’ overall attitudes to school dropped significantly from the end of Year 6 to the end of Year 7 with their enjoyment towards school and their satisfaction with the work environment declining. Pupils’ attitudes to music presented a significant fall at the end of Year 7 after a slight improvement at the beginning of secondary school. Girls held consistently more positive attitudes towards school and music than boys. It is suggested that pupils’ attitudes are malleable and responsive to environmental change and, therefore, this problem can be remedied if appropriate interventions are put into place particularly regarding the teacher-pupil relationship and pupils’ perceived autonomy in their learning.