TY  - UNPB
M1  - Doctoral
Y1  - 2010///
PB  - Institute of Education, University of London
A1  - Crow, William George
N2  - Abstract
This thesis interrogates the new music technology and its relationship to
creativity, musicality and learning in the Key Stage 31 curriculum. In doing so it
considers the effectiveness of the technology, what value pupils and teachers
might place on technologically mediated musical interactions and how this
relates to the principles enshrined in the National Curriculum. The research also
explores the views of teachers in relation to the nature of creativity and learning
in the music curriculum and their role in promoting it. The research was carried
out across five sites: a PGCE music course, a year 7, year 8, and year 9 Key Stage
3 music classroom, and a panel of secondary music teachers. It was located in a
qualitative paradigm which made use of observational and interview techniques.
The research also probed the pupils' creative outcomes through detailed
analysis. The findings suggest that the new technology can afford creative
musical engagement through the manipulation of ready-made musical materials.
It also suggests that pupils engage in a range of musical learning through such
interactions and that they value the processes and outcomes. By way of contrast,
teachers are still unclear about how to value such musical actions and are in the
process of re conceptualising the learning that emerges in technologically
mediated settings. Moreover, confusions still exist in relation to creativity and
learning in the music classroom. This is compounded by the fact that the pupils'
musical actions in relation to the new technology do not meet certain core
practices and principles enshrined in the National Curriculum for music. This is
problematic for, as the research suggests, such core practices often exclude or
distance those pupils who are non-performing musicians. Hence the thesis
concludes by positing that music education must consider a broader view of
what it is to be musical. In doing so it needs to remix the music curriculum to
take account of a range of musical actions. This remix should accommodate the
new technology, reconfigure musical creativity and learning in the light of the
technology and find new ways to value pupils' actions. In such settings the role of
the teacher in shaping and supporting the pupils' musical actions will be an
important consideration.
AV  - restricted
EP  - 333
N1  - Leaves 303-319 are appendices.
ID  - discovery10006504
TI  - Remixing the music curriculum : the new technology, creativity and perceptions of musicality in music education
UR  - http://ethos.bl.uk/ProcessSearch.do?query=534806
ER  -