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Title: Remixing the music curriculum : the new technology, creativity and perceptions of musicality in music education
Author: Crow, William George
ISNI:       0000 0004 2702 0298
Awarding Body: Institute of Education, University of London
Current Institution: University College London (University of London)
Date of Award: 2010
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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.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available