Music Education in England, 1950-2010: The Child-Centered by John Finney

By John Finney

John Finney examines the child-centred revolutionary culture to create a clean approach of comparing rules and practices that experience advanced considering 1950, that experience formed the lives of tune academics and their scholars, and that experience now turn into disfigured, residual and altogether misplaced within the mild of social, cultural and political switch. The booklet is a critique of the current scenario with an goal to show the hazards in our present pursuit of destiny profits which are idea to serve the making and maintaining of the social order. The undertaking attracts in significant debates of the interval, in addition to their protagonists, counter-pointed through the voices of lecturers and students. even as the structuring voices of coverage and governance turn into ever louder as we succeed in the current time. Finney offers a compelling, analytical account via a chain of six episodes, every one trying to catch the spirit and passion attribute of a selected section in the interval studied. within the concluding bankruptcy the narrative constructed is reviewed, out of which the assumption of tune schooling as a moral pursuit is proposed, during which school room relationships might be considered playfully dialogic, the place instructor and student stay curious, and the place there's severe cognizance to what's to study and why, the place it will continuously have to be negotiated and the place the expressed and inferred wishes of kids interact to discover a severe method of what's being learnt. Finney's publication presents clean idea for practitioners and new demanding situations for researchers, and as such is a landmark within the box of arts and song schooling.

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Extra info for Music Education in England, 1950-2010: The Child-Centered Progressive Tradition

Sample text

Jill tells of times when the school bus was deliberately missed so that a walk to school meant missing the first lesson of the day, and the time when a whole day was spent in hiding high up on the gantry of the school’s Drama Studio. There was music on the timetable: … and this teacher was kind and generous, a well-spoken lady. It was a participating lesson, some new songs and some old ‘friends’ from Kingston days. ‘Where the bee sucks’, for example, reminding me of our Midsummer Night’s Dream experience at Kingston.

Music is less cognitive than other subjects and potentially dangerous. Indeed, this a good reason for it to be carefully regulated. A music education, then as now, was wholly implicated in the moral and political life of society. Music has a place in building not just character but the social character fully harmonized with the social, moral and economic structure of society. Plato provided a blueprint for a stable society where reason and order ruled and where change would be a threat to stability and order.

Creativity was a way of applying knowledge, an ‘active participation in forms of expression that called for individual creative impulse into play and encouraged an imaginative response to experience’ (ibid: 37). Creativity required carefully managed freedom, finely constructed spaces for ‘symbolization’. In this Times Education Supplement article Sybil observes a rapid transformation in the character of primary schools. The Plowden Report was being implemented. The report had pointed out that a better balance needed to be found between recreative and creative approaches to music in the primary school.

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