PROGRAMME 2.00-3.30 The Gendering of Secondary Music Education Anna Green (ex-secondary Head of Music and full-time research student, IoE) Discussion surrounding the effect of gender upon the music curriculum, teaching and learning styles, and pupils' preferences has flourished during the last 20 years. This study consists of an empirical investigation into the practices and beliefs of secondary pupils and their music teachers in relation to the historical and theoretical concepts that underpin this domain. The main research question asks: To what extent is it reasonable to understand curriculum content and pedagogy in music education, as gendered? This issue is examined via a mixed–methods qualitative study, in a selection of comprehensive schools across England.
The guru-shishya relationship in Karnatic classical music training Sophie Grimmer (Professor of Singing, Trinity College of Music London, singer, and part-time research student, IoE) Many ethnomusicological studies suggest that despite the difficulties of maintaining certain aspects of traditional music-transmission processes in the ever-changing cultural landscape of modern India, musicians consider the unique communication between a master, or guru (who may be male or female), and a shishya (student), to be fundamental. Based on extensive field-work in India, this study explores the guru-shishya relationship across a range of participants in the South Indian Karnatic tradition of advanced solo vocal performance.
Music education in Kosovo: an overview of its socio-political context and influences Besa Luzha (National Music Curriculum Co-ordinator, Ministry of Education, Kosovo, Head of Music Teacher Training, University of Prishtina, and part-time EdD student, IoE) Kosovo has lately been referred to as the youngest country in the world, despite the fact that it has a long and fascinating history where freedom and national identity were the highest ranking goals and values. Music has long been a major source of national identity in the region. This paper gives an overview of the 'journey' of Kosovo towards becoming a 'state', and indentifies current challenges for music and music education in Kosovo's new social political context.
approx 3.30-4.00: BREAK
4.00-5.00 Exploring the social reproduction of traditional musical values and unequal musical opportunity in higher education in Ireland Gwen Moore Moore (Lecturer in Music Education, Mary Immaculate College, University of Limerick and part-time research student, IoE) This research explores the social reproduction of traditional musical values and unequal musical opportunity with reference to the experiences, backgrounds, values and beliefs of lecturers and students of music in Irish higher education. The study will explore procedure of admitting students onto music degree courses (audition, entrance tests) and the curriculum content in these courses. Research methods will include survey and semi-structured interviews of lecturers, and survey and focus group discussions with students. An adapted grounded theory approach to analysis will explore participants' attitudes to musical meaning, musical value, ideology, and social reproduction.
Sex and Drums and Rock 'n' Roll Gareth Dylan Smith (Lecturer, Institute for Contemporary Music Studies, London, drummer and part-time research student, IoE) What do you call a drummer without a girlfriend? Homeless! The world inhabited by kit drummers is one of jazz, popular music and musical theatre. It is home to informal learning, poor jokes and institutionalized sexism. This paper explores some of the issues affecting male and female drummers from the inherently biased perspective of a male drummer. The discussion is based upon data collected in interviews, questionnaires and the literature review undertaken as part of a PhD. Many girls play drums, but the professional circuit is populated almost entirely by men; must female drummers always choose between parenthood and a career? When nearly all drumming role models are men, it may be unreasonable to expect women to pick up sticks at all; should they try to sound like their male counterparts, or should they forge a new path? Maybe it would all be a lot easier if drum kit could be played 'side-saddle'.