Search results
theoretical frameworks have been employed in music education research and which academic fields of knowledge have had an influence on music educa-tion research. Studies published in the JRME between 1979 and 2009 (N = 726) were coded to determine: (a) whether each article cited a theoretical framework related to the respective problem under i.
Oct 20, 2011 · To meet contemporary demands, music educators need to be smart—understanding the nuances of various theories of learning, savvy—understanding their own learning style and how that may affect teaching effectiveness, and sensitive—understanding that teaching is situated in particular contexts.
- Dan Isbell
- 2012
differentiation and praxial curriculum theory, to inform pre-service music education course preparation addressing varied learner needs in mixed ability inclusion contexts.
- Susan E Raponi
- 2019
Dec 18, 2008 · In his work Sharp probed into relationships between art, race, and national identity, and tackled notions of authenticity and knowledge; issues which are at the heart of the search for an adequate philosophy of music education.
MSTEC believes in its international role as a body for promoting theoretical and practical innovation, research methodologies and policy development to meet the challenges faced by music educators worldwide.
- 798KB
- 212
A music education, or any other type of education method, is a teaching approach that has: 1) an identifiable underlying philosophy or set of principles; 2) a unified body of pedagogy unique to it with a body of well-defined practice; 3) goals and objectives worthy of pursuit; and 4) integrity (i.e., its reason for existence must not be ...
People also ask
What is John Sharp's philosophy of Music Education?
How did John Sharp influence the folk song movement?
What qualities do music educators need to have?
How did Cecil Sharp influence folk music?
What are the implications of design-based research in music education?
What did students learn from a musical performance?
Sep 1, 2011 · It analyzes four influential perspectives of learning, and considers how the learner is shaped by them: (1) the music learner as a skilled performer, (2) the music learner as a collaborator, (3)...
