By Gary Spruce
Points of training Secondary song offers a realistic representation of the talents, wisdom and knowing required to educate track within the secondary school room. Musical thoughts and concepts are mentioned and a serious exam of key matters is given. This encourages the reader to have interaction with those innovations and think about their perspectives and ideology when it comes to how they're going to impact their power to educate tune in an encouraged and powerful demeanour.
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Additional resources for Aspects of Teaching Secondary Music: Perspectives on Practice (Ou Flexible Pgceseries)
Differentiation by outcome is, broadly speaking, observing different levels of achievement from the setting of a common task, whilst differentiation by task involves setting varied learning activities designed to meet the range of needs within a particular group. However, such ‘ideal types’ and the clear-cut distinctions which they imply are rarely helpful or particularly apposite when applied to music teaching; for example, there is a sense in which pupils themselves self-differentiate by, as Philpott says, engaging with ‘areas of problem solving such as composing and listening … at their own particular level of musical development’ (Philpott 2001: 124), irrespective of the tasks set by the teacher.
Departmental effectiveness can best be assured by the department constantly engaging in reflection and self-evaluation. A model for such self-evaluation is provided by Ribbins and Burridge (1992). They propose a six-stage model based on the four-stage development sequence suggested by School Development Plans project (DES 1989, 1991). The four original stages were: 1 2 3 4 audit (strengths and weaknesses are revised); construction (development priorities are selected and turned into specific targets); implementation (of the planned priorities and targets); evaluation (the success of implementation is checked).
176, pp. 67–8) It is important that children should feel that they are involved in a creative activity that has a sense of direction, is worthwhile and is providing them with experiences that other subjects do not. Classroom music needs to be full of activities that challenge children’s creativity, that develop the skills and knowledge they need to progress musically and that require them to express and justify opinions about their own work and that of others. Devising a curriculum model for music How then can musical progression be planned for and what curriculum model is likely to be most effective in promoting it?