Here is the submission:
Consultation questionnaire
ACARA Draft of the Australian Curriculum: The Arts (with a
specific focus on Music)
The comments below are an edited compilation of responses
received from about 70 delegates who attended the sMAG (School Music Action
Group) and AMUSE (Association of Music
Educators) consultation meeting in Victoria.
At the meeting, there was full agreement that the Draft
Curriculum should be re-written and rejected it in its present form.
Important note:
Although there is a fair degree of repetition in the comments sections above,
many of the respondents from the sMAG/AMUSE Consultation meeting indicated that
there comments applied to all of the Band Descriptions. As much as possible,
editing of responses has been kept to enable the views of the contributors to
be expressed in their own way.
ORGANISATION
DIVERSITY OF LEARNERS
15. The
explanation of the ways in which the Australian Curriculum caters for the
diversity of learners is clear
Comments:
v
Although there
is mention of ‘the different abilities of students, there is no explicit
recognition within the section entitled ‘Diversity of learners’ of gifted and
talented students. In the case of music,
The Arts curriculum does not recognise, either in Section 15 (pp. 12-13) or
within the Band Descriptions for Music, the need to support or overtly
complement the specialist instrumental (including vocal) studies of gifted and
talent students that occurs both within and outside school settings..
CROSS-CURRICULUM PRIORITIES
The relationship described
between the learning areas and each of the following cross-curriculum
priorities is evident in the curriculum content
16.
Aboriginal and
Torres Strait Islander histories and cultures
17.
Asia and Australia’s
engagement with Asia
18.
Sustainability
Comments:
v
Although
it is vital that the histories and cultures of the Australian indigenous
communities and Australia’s engagement with countries within the Asia-Pacific
region are fully acknowledged, there is also a need to recognise, particularly
in the case of Western Art music, that the cultural and artistic focus of both
Australian-born and immigrant Australians is predominantly on the European
tradition. Moreover, what is important is to consider the past and present
context of a variety of musical styles and genres which reflects the cultural
diversity of the Australian community. To prioritise the focus on Aboriginal,
Torres Strait Islander and Asian may not refect the reality of cultural
diversity in Australia.
v
The
curriculum should cater for the full range of student needs and should
accommodate students who demonstrate the potential to become future artists and
provide them with a foundation to build a career in the arts industry. The lack
of focus on aural training and developing music literacy (i.e. skills of being
able to read and write music) in the Music Curriculum will not produce future
musicians—nor will it develop students with the skills to explore music
independently and with others. Thus we question whether this curriculum will
provide the next generation of musicians and performers, composers and arts
industry workers to sustain our industry.
IMPLICATIONS FOR IMPLEMENTATION
19.
The ways in which
teachers can implement the Arts curriculum to support student learning are
clear
20.
The ways in
which teachers can implement the Arts curriculum to support assessment of
student learning are clear.
v While it is encouraging that the document states‘The Australian
Curriculum is unique in that it entitles all Australian students to learn in,
through and about the five Arts subjects throughout primary school’, being
‘entitled’ to this learning does not in any way guarantee that students will
indeed receive this opportunity. Currently as many as 63% of Australian school children
do not have access to music education during their schooling (Music Council of
Australia, 2012, p. 5). If a rigorous and
concept-specific curriculum were in place, at least there would be some
incentive for tertiary education institutions to address the issue of dwindling
opportunities to specialize in music at undergraduate level. As things stand,
until this issue is addressed, music teacher shortages will continue to be a
major reason for schools to legitimately decline to offer music to their
students.
MUSIC
RATIONALE AND AIMS
1.
The Music rationale
provides a clear foundation and direction for the draft Australian Curriculum in Music
2.
The aims
describe the intended learning in the subject
Comments:
v Paragraph 4, page 4 states in part, ‘From
the beginning of secondary school, year 7 and 8 students will continue to learn
ONE or more of the Arts subjects, with the opportunity to specialise in one or
more subjects in year 9 and 10’.
It
is a concern that schools (particularly in states which have or are moving
towards school-based management) will respond to this statement by reducing the
number of art forms presently offered to one arts subject to accommodate time
and money restrictions. Indeed this has already happened.
v sMAG and AMUSE strongly recommend that the
statement be replaced with the following which is consistent with the position
taken by the National Advocates for Arts Education: ‘In Years F-8 students will
be provided with in-depth learning in two or more of the Art subjects, and have
opportunities to experience and enjoy learning in and about all five Arts
subjects, and have the opportunity to specialise in one or more subjects in
Years 9 and 10’.
v The whole section of the document covering
music would be more appropriately called a ‘Framework’ and reads as a poor
attempt to define music education at it lowest denomination. It provides a poor
roadmap for how music education might look in the future.
v As such it will probably lead to a further
eroding of music in schools, especially given that education leaders outside
the discipline (such as principals) will not have a document which powerfully
and convincingly advocates for music education. If the result is that only limited
rigour is demanded and the status accorded to music is low, the document would
also serve to discourage parents and students from choosing music as an
elective subject in years 9 to 12. Even now in many schools music is often
considered as a waste of a subject and one which represents more entertainment
value than academic value and not to be taken seriously.
v The music’ framework’ needs to be re-written by someone who is
passionate about music and understands the benefits to the whole child. It
needs to contain passionate and inspirational statements such as: ‘Performing
music nurtures the integrated development of cognitive, affective, motor,
social and personal competencies, enhances intellectual domains as well as the
acquisition of language, literacy, numeracy and creative skills. Music has the
power to transform lives. Listening to music is the most preferred leisure
activity of most young people.’
v Any curriculum statement that is limited to 23
pages in length does not provide enough scope to put together a comprehensive
document, especially as the Arts Standards need so much more detail.
v Enthusiastic, supportive language in government education policy and
curriculum documents are commendable and an excellent start. However, the
curriculum in its current format does nothing to convince practicing music
education teachers that the subject area is being taken at all seriously by
ACARA or the government.
v
Repertoire—the
emphasis on Indigenous and Asian cultures is a curriculum priority. However,
the repertoire taught and performed in Australia is largely based on Western
Art music. This is not recognised in the music document and a preferable base
for considering repertoire would be to focus on the past and present context of
music found across the full range of cultural diversity in Australia.
v
There needs
to be 100 hours mandated in the 3rd paragraph on page 4 from Foundation
to Year 8 – i.e. ‘students will have the opportunity to experience and enjoy
learning in the Arts for a minimum of 100 hours’.
v At 2.6 on page 95, how does ‘exploring shapes and
animal tracks through paintings or other visual arts works that tell a story’
relate to music? (Should this be in the visual arts?)
2.
The Music Aims describe the intended learning in the subject.
v The draft reads as a poor attempt to define
music education at the lowest denomination, and provides a poor roadmap for how
music might look in the future. As such it will probably cause a further
eroding of music in schools, especially given that music education leaders
outside the disciplines (such as principals) will not have a document to read
which powerfully and convincingly advocates for music education.
v Containing limited rigor and therefore not
reflecting the possible status of music in the curriculum, this document could discourage
parents and students from choosing music as an elective subject in years 7 -12.
v This draft does not treat Music as a serious
study nor provides detail for the musically-uneducated teacher. As such, its
vagueness and lack of specificity is more designed to address the political
situation than the pedagogical task.
v It is a framework rather than a curriculum
and its lack of detail results in the document becoming meaningless.
v The documents neither support the classroom
teacher without musical training, nor gives specificity to the specialist
teacher.
v It is in no way a document based on the best
music curriculum from each of the states as was reported by the Minister
Garrett. The adoption of the Queensland
primary music curriculum would have been a significant improvement. In fact the
‘Frameworks’ developed in each of the States would be preferable to this
document.
v Schools with a good creative arts program
have far better learning outcomes than are found in this draft
v Focus on aesthetic learning—the curriculum
should avoid ‘pitting’ culture against culture.
LEARNING IN MUSIC
3.
The two-strand
structure Making and Responding is
clearly explained for Music.
4.
The elements of
music are clearly explained
Comments: Please indicate specific strengths and/or areas for
improvement with particular reference to specific content in the Learning in
Music section
Making
v The two-strand structure is fine but it is
the content that fails to implement the recommendations of the shaping paper
and reduces the draft to a time-wasting soft-option that required limited
musical literacy, low-level performance skills, and low-level cumulative and
sequential development of knowledge and skills. Moreover there is no provision
for the development of higher-order thinking skills.
v There is an uneven emphasis on the affective
domain, with specific cognitive knowledge such as aural skills and theoretical knowledge
hardly present in the draft. Content
descriptors do not include the important elements of the development of aural
skills and theoretical understanding enabling students to notate music and
engage in music performance. Elaborations are activities, not how and what to
teach, and the achievement standards are a joke!!
v A section on page 4 reads ‘Learning in the Arts and
the development of aesthetic knowledge are sequential and cumulative. The new
content, skills and processes specified in each band will be revisited in
increasing complexity and sophistication in later bands’. But
this document is essentially not a content
document but an activities document, where there is no attempt to present
anything sequential or cumulative. It states that by Year 10 students should improvise,
trial, select, extend, manipulate and evaluate music ideas to compose and
arrange music. As they have not been
given a course in aural skills and music theory, students may know nothing
about texture, bass-lines, chordal progressions, the compositional devices that
relate to different musical styles, nor the use of traditional notation.
Accordingly the outcome of their attempt to compose and improvise is likely to
be ‘clueless’! Where is the sophistication? There is certainly none evident in
the Achievement Standards.
v The Band descriptions should detail the
specific content and learning of each band, and therefore should be quite
distinct from each other. Four of five
paragraphs in each band are a direct cut and paste, with the remaining
paragraph expressing almost exactly the same ideas—e.g., ‘Students make and
respond to music’.
v There is a discipline of knowledge specific
to music. Music is an intrinsic subject that has a language all of its own.
However, the language used is not music-specific—i.e. it is all too general.
v Key knowledge has been neglected – also, cross
reference from skills is required.
v Use acquired skills for particular artwork.
v Higher expectations are required from F – 10
such as are found in established pedagogies such as Kodaly and Orff.
v Rigor is missing at each band level.
v Specific rigorous and explicit content in a
sequential F – 12 format is required for an Australian curriculum document in
music.
v Music literacy should cover a good understanding of conventual (staff) notation
as well as other ways of notating music.
v Aural training is a key skill for a
developing musicianship and is essential for music performance at all
levels. This is missing from the
curriculum.
v There should be a plan to enable sequential
development of singing.
v There is no clear proposal for learning
music notation in the document, nor the development of aural skills or
theoretical concepts.
v The development of fine motor skills needed
for music performance is missing.
v The need to practice and develop fine motor
skills and coordination continuously, preferably from a young age, is missing.
v The value of singing has been inexplicably
minimized.
v There is need for a larger amount of content
and course description—see other studies such as History and Science.
v The curriculum needs to describe a sequential,
developmental and continuous progression from F – 10 describing standards that
would serve students who wish to wish to specialise in years 11and 12 and
possibly proceed to music studies at a university.
v
In music
education, the issue of pedagogy is vitally important, particularly in the area
of musical performance. The development of music concepts and skills in the
early years through singing is hardly even identified within the vague
statements relating to singing and playing.
v At 11, the shaping paper states: ‘Learning in the Arts
and the development of aesthetic knowledge are sequential and cumulative. The
new content, skills and processes specified in each band will be revisited in
increasing complexity and sophistication in later bands.’ Yet the ‘band
descriptions’ across the curriculum vary only by as much as a sentence here and
there in the middle. They are otherwise identical !!
v The content description organisers in all
levels of the ACARA document need to be further refined so that there is
clarity across levels, with only additional qualification statements being
uses, rather than totally different statements.
v The Shape of the Australian Curriculum – The
Arts document clearly states the intention of exactly what this curriculum
document was to provide. I believe none of the following expectations have been
achieved in the current draft Australian Curriculum and as such this Draft
Curriculum document has been rejected by the 70 + delegates at the Consultation
meeting organised by The Victorian School Music Action Group (sMAG) and the
Association of Music Educators (AMUSE). The following statements are examples
of the significant lack of detail and overall meaningless nature of the music
curriculum:
o page 3,
point 5: ‘students will develop specific
knowledge, skills and processes’;
o page 4,
point 11: ‘Learning in the arts…are sequential
and cumulative. The new content, skills and processes
specified in each band will be revisited in increasing complexity and sophistication
in later bands’;
o page 5,
point 14: ‘Each subject in the Arts is unique, with its own discrete knowledge, symbols, language, processes and skills’;
o page 5,
point 16: ‘…each subject in the Arts will have specific terminology, concepts
and processes that serve as subject
organisers’;
o page 5,
point 17: ‘Students will learn to use art form specific concepts, skills and processes’;
o page 5,
point 18: ‘Through disciplined practice,
students will learn to …’;
o
page 14, point 47: ‘In music, students
will use the concepts and materials of music to compose, improvise, arrange, perform, conduct and respond to their own and others’ work. They will learn
the elements of music including duration (rhythm and tempo), dynamics, form, pitch
(melody and harmony), and timbre (sound texture and quality). ….They will learn
forms of notation to record and communicate music and musical ideas…..Students will research traditions and contexts
of music and music practices, and develop
the skills and techniques to critique their own and others’ music practices’;
o
pages 14 & 15, point 50: ‘Years 5–6… Students’ musical practices will be underpinned by a developing use of music
notation, aural skills and music terminology’;
o
page 15, point 52: ‘Years 9-10 Students will
develop a deepened understanding and
use of music concepts and languages, practices, technologies
and techniques….. As audience
members, students will respond to music, demonstrating
a command of the language and concepts of music’;
o page
25, point 92: ‘Teachers in schools are the key to providing students with rich, sustained, rigorous learning in each subject in the Arts’.
Additional comments from delegates at the Consultation
Meeting
v
As a general comment, I would say
that this document offers some useful ideas for making music in the classroom.
The language and concepts involved however, are far too general to be called a
curriculum as such. When people use the word curriculum, they are generally
referring to the content of a subject area.
v At 14 of the Shape of the Australian Curriculum: The Arts, it is stated:
‘Each subject in the Arts is unique, with its own discrete knowledge, symbols,
language, processes and skills’. This is particularly true of music which is in
fact a unique language of symbols and terminology.
v After the initial statement of ‘The Elements of Music’ on page 92, there
is not a single reference made to any music-specific term – not rhythm, melody,
crotchet, quaver, ‘ta, ti-ti’ … nothing!!
v Learning activities include composing, listening, performing with some
reference to recording music, but this leaves it open to the teacher’s interpretation
whether or not a student must learn how to transcribe or notate music!!
v The rationale statement lacks clear statements
of the importance and value of music education and its purpose and benefits for
students.
v Music literacy and performance develops the
brain like no other subject.
v Music is a language. It needs continuous
practice with ongoing presence in the curriculum in the same way English and
languages.
Responding
v There is little reference of progression
from F-10.
v There need to be statements about students
attending performances and concerts by top practitioners if we are to support
students to experience best practice and become and become audience members.
v Content structure needs to include the term
‘creating’ rather than ‘making’. Also replace such words as ‘manifestations’
which are altogether too vague.
FOUNDATION TO YEAR 2
BAND DESCRIPTION
The band description:
5.
is clear, that is
explains in understandable language the breadth of learning to be covered in
the band
Comments: Please indicate specific strengths and/or areas for
improvement in the band description.
v
There is a
lack of expectations/specificity in the guidelines.
v
Non-specialists
would find it difficult to teach and any rigour involved as a subject could be
tokenistic contribution to what music is.
v The material here needs to be more in
alignment with the Scope and Sequence document.
v The curriculum needs a larger amount of
content and course description—see History and Science for example.
v The curriculum needs to describe sequential,
developmental and continuous progression from F – 10 describing standards that
would serve students who wish to specialise in years 11 and 12 and proceed to
University.
v
Lack of
expectations/specificity in the guidelines.
CONTENT DESCRIPTIONS
The draft content descriptions:
6.
are clear, that is
explain in understandable language what is to be taught and learned
7.
are pitched appropriately,
that is realistic yet sufficiently challenging for students in this band level.
Comments: Please identify any content using the content
description number that you believe should/should not be included in the draft
curriculum. Give reasons for your selection such as specific and/or areas for
improvement.
v
Mostly
reads like Foundation level, without reference to expectations after three
years of music lessons from Foundation to Year 2.
v At 2.8, page 95—w
at is meant by ‘acknowledging that other world cultures use the same repertoire
of sounds and rhythms’? Surely other world cultures use many different sounds
and rhythms?
v
The focus
is on creativity, exploration and play and ‘learning by doing’. The material
here does not support these activities with skills and knowledge so that
students may engage in music meaningfully.
v
Please refer to the USA National
Standards for Music Education document for examples of sequential learning
contained in their Content and Achievement Standards.
v Some would say that this Content Description is beyond the grasp of the
average generalist and I do not dispute this, but this is a problem and not one
that should result in a curriculum that caters to the ‘lowest common
denominator’. Research shows that the majority of generalist teachers are
ill-equipped in both skills and confidence to administer a music program with
any kind of discipline or rigour (Andrews, 2004; Sharp & Metais, 2000;
Temmerman, 2006). Realistically, it is not these
teachers who will be looking to a national curriculum for what to teach in the
way of music in their classrooms—they will be looking to put a CD on as
background music to work. Music programs are taught in Australian primary
schools largely by teachers in a role of music specialist. These are either teachers
with music-specific training or generalists with an interest in and some level
of skill in music but no specific qualifications in the area as such. Either of
these two types of teachers need a curriculum that is concept- and language-
specific to music with proper, graduated outcomes and assessment tasks that
reflect the uniqueness and complexity of the subject area.
v Music notation and literacy should be
included at every level.
v Where is the engagement with ICT?
CONTENT ELABORATIONS
The draft content elaborations
8.
illustrate the
content descriptions effectively
9.
are clear, that is
explained understandable language
10.
are relevant to the
band level
Comments: Please indicate specific strengths and/or areas for
improvement with particular reference to specific content elaborations.
v The document should be more aspirational and
make it possible for most students in Australia to actually achieve something. The
achievement standards and the content elaborations for music should reflect the
very best at both a basic level of attainment and a higher level of attainment.
v The Elaborations need to be re-written so
they can exploit high quality examples including ICT and innovative pedagogies.
v
While the
language of the document is accessible to the generalist teacher (class
teacher), there is too little detail and unless the class teacher has some personal
experience of music, the actual implementation of, for example ‘exploring ways
to record the music that they create, for example creating a graphic score
using symbols to show loud and soft, long and short, and the order of sounds
within the piece’ (F–2 Content description), will present a major problem for
the teacher in implementing this curriculum.
v Pedagogy is really important in all
curriculum areas. Explicit statements should be included in the curriculum
document. While it is an extremely unfortunate reality
that much music is currently being
taught in Australian primary schools by teachers without music-specific background
or education, it cannot be acceptable to present a document of such a generic
nature as to be completely useless for planning and assessment and to call it a
curriculum. Could the outcry be imagined if something as general as this were to
be presented as the curriculum for mathematics, with no specific terminology—no
addition, subtraction, multiplication etc?.. and with no outcomes, no
assessment tasks, etc. It would be regarded as a joke.
ACHIEVEMENTS STANDARDS
The draft achievement standards:
8.
is clear, that is
explains in understandable language what students should know and be able to do
in music by the end of year 2
9.
Is pitched
appropriately, that is realistic yet sufficiently challenging for students at
that band level
Comments: Please indicate specific strengths and/or areas for
improvement in the achievement standards:
v The crucial statements which should be
present in the Achievement Standards
are incredibly short and vague in relation to student outcomes. Linear
progression is missing. The opening paragraph states that the sequence of
Achievement Standards describes progress in the learning area as providing a
broad sequence of learning, and providing teachers with a framework of growth
and development. It also states that achievement standards describe the quality
of learning and show the depth of conceptual understanding and the
sophistication of skills. At this stage, they are brief and vague, and
certainly do few of these things. There is no clear picture from one level to
the next. In fact, the music achievement band for F – 2 seems more suitable for
F than 2.
v Please consult the USA National Standards
for Music Education for a model.
v Despite what is mandated in policy
documents, individual school principals will determine whether or not music
programs are implemented.
v There is a gulf between what is mandated in
policy and what happens in schools.
v Given that we now have a generation of
teachers and principals who themselves have had non-existent or poor music
education experiences, many of them need to be convinced through appropriate
professional development of the value of music education. The document needs to
focus more on this.
v To be taken seriously as a discipline in its
own right, music educators need to demonstrate that music education is not just
entertainment, nor is it just about fostering instrumental skills of talented,
individual children. It must include every child in meaningful and enriching
programs whilst complementing the studies of those students wishing to
specialise in practical music studies.
v In order to address the deficiencies in
teacher competence, we need to be very pro-active in offering Orff or Kodaly professional
development for primary music teachers and generalist teachers.
v It is important that every child is engaged
in active music-making which is one way of demonstrating the value of music
education. Equipping specialist and generalist teachers with programs where
they actively perform on instruments, such as marimbas, for example, is one
step in turning around the near demise of music in many schools.
v The time available for tertiary music
educators to train the next generation of teachers has been eroded in the last
few years, which underscores the need to maximize the time available by
offering practical, skill-based training to teacher education students.
v Tertiary music educators need to empower
pre-service primary teachers with a repertoire of songs, dances, singing games
and marimba pieces that they can use immediately in schools.
v The implementation of ‘The Singing Classroom’
developed by AMUSE is highly recommended as a means of ensuring basic provision
of music education in school and could be used as a model for the curriculum..
v There is a need to establish expectations. The
document is so vague that young teachers don’t have achievement points to ‘hang
their hats on’.
v There is a lack of linking with development
standards of child learning
v There is nothing definite in relation to
content—expansion of language doesn’t mean depth of content.
v There is a lack of specific skills mentioned.
More use should be made of specific language (key learning) and sequential
learning patterns (skills and details)— e.g. singing in particular pitches that
suit young voices.
v Pedagogy is really important in all
curriculum areas. Explicit statements should be incorporated into the
curriculum document. As previously stated … while it is
an extremely unfortunate reality that much of the music is taught in Australian
primary schools is undertaken by teachers without music-specific education, it
cannot be acceptable to present a document of such a generic nature as to be
completely useless for planning and assessment and call it a curriculum. Could
the outcry be imagined if something as general as this were presented as the
curriculum for mathematics, with no specific terminology – no adding,
subtracting, multiplication etc? No outcomes, no assessment tasks. It would be
regarded as a joke. An example of what
might be asked of students in a prep music class could be:
‘By
the end of prep, students will be able to distinguish between beat and rhythm. They will understand the words and
be able to perform each separately
on their body and on small, unturned percussion instruments like rhythm sticks and tambour drums. They
will be able to distinguish between high
and low sounds and demonstrate their knowledge through simple games and songs using movement and gesture—e.g.
‘Butterflies go high’ and ‘Up high,
down low’. They will be able to read and perform patterns using simple rhythmic figures such as ta, ti-ti and
sa and to sing the intervals of a major 2nd and
minor 3rd in tune using sol fa hand-signs and note names (mi, soh, lah).’
YEARS 3 AND 4
BAND DESCRIPTION
The band description:
11.
is clear, that is
explains in understandable language the breadth of learning to be covered in
the band
Comments: Please indicate specific strengths and/or areas for
improvement in the band description.
v
Need to add that students should have the
opportunity to learn to play an instrument
v
Students have the opportunity to sing in a choir
CONTENT DESCRIPTIONS
The draft content descriptions:
12.
are clear, that is
explain in understandable language what is to be taught and learned
13.
are pitched
appropriately, that is realistic yet sufficiently challenging for students in
this band level
Comments: Please identify any content using the content
description number that you believe should/should not be included in the draft
curriculum. Give reasons for your selection such as specific and/or areas for
improvement.
v
The focus
is on creativity, exploration and play and ‘learning by doing’. It does not
support these activities with skills and knowledge so that students may engage
in music meaningfully.
Of nine content
descriptions, only 4.4 is concerned with the development of performance skills.
Where are the content descriptions and elaborations which develop these skills?
Music literacy, aural development and performance skills are obviously a very
minor part of the musical development of students in years 3 and 4 in this
curriculum, yet research shows that ‘Playing a stringed instrument at
this time in a child’s life (Grade 3) develops neural pathways connecting to
fine and gross motor skills. Ear, hand, eye coordination is refined as they
learn to sense, feel, hear and observe the correct pitch of each note on an
unfretted instrument. The quality of sound production is a major focus as students learn to move the bow across
the strings with grace and flow to produce a rich, warm and appealing tone. Students
are essentially learning to fine tune and resonate themselves as much as the
instruments they are playing.’
v
Need to add that students should have the
opportunity to learn to play an instrument
v
Students have the opportunity to sing in a choir
CONTENT ELABORATIONS
The draft content elaborations
14.
illustrate the
content descriptions effectively
15.
are clear, that is
explained understandable language
16.
are relevant to the
band level
Comments: Please indicate specific strengths and/or areas for
improvement with particular reference to specific content elaborations.
v While the language of the document is
accessible to the generalist teacher (class teacher), there is no detail.
Unless the class teacher has some experience—e.g. ‘exploring ways to record the
music that they create, for example creating a graphic score using symbols to
show loud and soft, long and short, and the order of sounds within the piece’
(F–2 content description), they will have problems in teaching this curriculum.
v The focus is on creativity, exploration and
play and ‘learning by doing’. The material here does not support these
activities with skills and knowledge so that students may engage in music
meaningfully.
v There are eight content descriptions and
elaborations about listening and experimenting, describing, imagining, exploring
and reflecting and only one for performing and skill development and this is
extremely vague. A generalist teacher could in fact design a program where
there was very little music making with almost no musical skills being
developed. Yes, children could listen
and talk a lot; however music is a performing art and children want to play
instruments and sing, but they would probably proceed to Years 5 and 6 with
very few musical skills.
v The perception and cognition of pitch and
rhythmic patterns are fundamental to our understanding of music, a fact noted
in many authorities on music. One clear proof to the syntactical nature of
pitch and rhythm is that pitch and rhythmic phenomena can be presented to
learners in a logical sequence— there is no comparable, cognitively-valid
learning sequence for music form, instrumental timbre or interpretative nuance.
The Australian Curriculum for music should incorporate a sequence of notated
pitch and rhythm concepts. The sequence should serve as a minimum standard for
student attainment.
v Pedagogy is really important in all
curriculum areas. Explicit statements should be included into the curriculum
document.
ACHIEVEMENTS STANDARDS
The draft achievement standard:
17.
is clear, that is
explains in understandable language what students should know and be able to do
in Music by the end of Year 4
18.
is pitched
appropriately, that is realistic yet sufficiently challenging for students at
the band level
Comments: Please indicate specific
strengths and/or areas for improvement in the achievement standard.
v Page 11—the opening paragraph here states
that the sequence of achievement standards describes progress in the learning
area, demonstrating a broad sequence in expected learning, and providing
teachers with a framework of growth and development. Also, it states that
achievement standards describe the quality of learning and show the depth of
conceptual understandings and the sophistication of skills. At this point of time they certainly do few
of these things. Maybe achievements standards should be a separate document
with developed statements in relation to growth, development, quality, depth of
conceptual learning and conceptual leading to the development of assessment and
reporting expectations and tasks—not just two short paragraphs. It is difficult to evaluate the various bands
of the curriculum document without these achievements statements which are
meant to give meaning to the sequential development, quality of learning, depth
of conceptual understanding and sophisticated skills required in each of the
Bands. I understand the addition of
portfolios and annotated students work samples will be developed at a later
date but these should not take the place of in-depth and quality achievements
standards.
v The document is so vague that young teachers
don’t have achievement points to ‘hang their hats on’.
v There is a lack of linking with development
standards of child learning.
v There is nothing definite in relation to
content— expansion of language doesn’t mean depth of content!!
v There is a lack of skills mentioned here.
Use specific language (key learning) and sequential learning pattern (skills
and details)—e.g. singing in particular pitches that suite young voices.
v Two short paragraphs only are provided to
inform teachers regarding the breadth of leaning required for nine content
descriptions and elaborations. The first expectation is that students sing and
play music, demonstrating pitch and rhythmic accuracy, and improvise. Where are
the specifics of what exactly students are meant to learn and achieve with only
one content description out of the nine dedicated to this?
YEARS 5 AND 6
BAND DESCRIPTION
The band description:
19.
is clear, that is
explains in understandable language the breadth of learning to be covered in
the band
Comments: Please indicate specific strengths and/or areas for
improvement in the band description.
v
The added
dimension to Years 5 and 6 is for students to use of elements of music and
musicianship skills to organise their ideas into compositions using notation
systems. The mention of musicianship skills would assume that the content
descriptions and elaborations included specific aural and theoretical components
so students would have the knowledge and skills to compose and improvise. It
does not. It would also be expected that the elements of music would be a focus
study and be linked with a study of musical styles.
v
Need to add that students should have the
opportunity to learn to play an instrument and perform in an ensemble
v
Students have the opportunity to sing in a choir
CONTENT DESCRIPTIONS
The draft content descriptions:
20.
are clear, that is
explain in understandable language what is to be taught and learned
21.
are pitched
appropriately, that is realistic yet sufficiently challenging for students in
this band level
Comments: Please identify any content using the content
description number that you believe should/should not be included in the draft
curriculum. Give reasons for your selection such as specific and/or areas for
improvement.
v Section 6.4 is the only practical content
description out of nine descriptions.
v It is
good to include Australian works and also world music including the Asia region
but this needs to be in addition to the Western music traditions which form the
basis of music performed in Australia
v ‘Select and organise music ideas to create
their own music’—this will be very difficult for students who have no basic
skills or knowledge of theoretical concepts.
v These content descriptions can only be
achieved after a three years of sequential and development study of skills and
techniques. These content descriptions suppose this has taken place.
v
Need to add that students should have the
opportunity to learn to play an instrument and perform in an ensemble
v
Students have the opportunity to sing in a choir
CONTENT ELABORATIONS
The draft content elaborations
22.
illustrate the
content descriptions effectively
23.
are clear, that is
explained understandable language
24.
are relevant to the
band level
Comments: Please indicate specific strengths and/or areas for
improvement with particular reference to specific content elaborations.
v Where is the reference to, and appreciation
of ICT which is a major influence in students’ lives?
v There is a great deal of experimenting,
exploring, identifying, explaining, recognising, describing etc, and quite of
lot of composing. There needs to be more emphasis on aural, theory and
performance skills (playing and singing).
ACHIEVEMENTS STANDARDS
The draft achievement standard:
25.
is clear, that is
explains in understandable language what students should know and be able to do
in Music by the end of Year 6
26.
is pitched
appropriately, that is realistic yet sufficiently challenging for students at
the band level
Comments: Please indicate specific strengths and/or areas for
improvement in the achievement standard.
v These are not standards but activities which
are impossible to measure and assess.
v Page 11—the opening paragraph states that the sequence of
achievement standards describes progress in the learning area, demonstrating a
broad sequence in expected learning, and providing teachers with a framework of
growth and development. Also, it states that achievement standards describe the
quality of learning and show the depth of conceptual understandings and the
sophistication of skills. At this
progression point , students could certainly
do very few of these things.
v The document is so vague that young teachers
wouldn’t have achievement points to ‘hang their hat on’.
v There is a lack of linking with development
standards of child learning.
v There is nothing definite here in relation
to content— expansion of language doesn’t mean depth of content!!
v There is no mention of skills here. Use
specific language (key learning) and sequential learning pattern (skills and
details—e.g. singing in particular pitches that suit young voices.
YEARS 7 AND 8
BAND DESCRIPTION
The band description:
27.
is clear, that is
explains in understandable language the breadth of learning to be covered in
the band
Comments: Please indicate specific strengths and/or areas for
improvement in the band description.
v
Students have the opportunity to sing in a choir How is it possible for students to:
learn to use art form-specific concepts, skills and processes in their making
and responding. (Structure of the Australian Arts Curriculum no. 17) when they
are to emerge from primary school without knowing the basics of music language?
v
Need to add that students should have the
opportunity to learn to play an instrument and perform in an ensemble
v
CONTENT DESCRIPTIONS
The draft content descriptions:
28.
are clear, that is
explain in understandable language what is to be taught and learned
29.
are pitched
appropriately, that is realistic yet sufficiently challenging for students in
this band level
Comments: Please identify any content using the content
description number that you believe should/should not be included in the draft
curriculum. Give reasons for your selection such as specific and/or areas for
improvement.
v As one teacher (supported by her group at
the consultation meeting) commented, ‘At this time, students entering Year 7
come with almost no skills to build upon, whereas the students who are having
instrumental lesson come with skills and understandings. This results in Year 7
classes being incredibly difficult to teach as you have students with no
knowledge of music right through to advanced level performers and composers.
Wherever you pitch the lesson you are not meeting the needs of about 70% of the
class and so students lose interest. With the new curriculum, nothing will change.’
v
Need to add that students should have the
opportunity to learn to play an instrument and perform in an ensemble
v
Students have the opportunity to sing in a choir
CONTENT ELABORATIONS
The draft content elaborations
30.
illustrate the
content descriptions effectively
31.
are clear, that is
explained understandable language
32.
are relevant to the
band level
Comments: Please indicate specific strengths and/or areas for
improvement with particular reference to specific content elaborations.
v Greater reference needs to be made to ensure
that the elaborations provide specific to attainable, yet clearly articulated
examples of tasks, rather than being quite general throughout and lacking
distinction and clarity at the various syllabus levels. (Suggest referring to
an existing taxonomy such as Bloom, or research /teacher suggestions from the
UNSW Generic Gifted and Talented Resource package, so we can offer appropriate
extension and enrichment.
v Students want to perform and so there should
be more emphases placed on the teaching of music notation, rhythm, aural and
musical styles. Computer music labs are great and students can learn at their
own rate and they are comfortable exploring and experimenting with sounds.
ACHIEVEMENTS STANDARDS
The draft achievement standard:
33.
is clear, that is
explains in understandable language what students should know and be able to do
in Music by the end of Year 8
34.
is pitched
appropriately, that is realistic yet sufficiently challenging for students at
the band level
Comments: Please indicate specific strengths and/or areas for
improvement in the achievement standard.
v These need to be greatly expanded with specific
achievement levels.
v Page 11 – the opening paragraph her states that the sequence
of achievement standards describes progress in the learning area, demonstrating
a broad sequence in expected learning, and providing teachers with a framework
of growth and development. Also, it states that achievement standards describe
the quality of learning and show the depth of conceptual understandings and the
sophistication of skills. At this point
of time they certainly do few of these things.
YEARS 9 AND 10
BAND DESCRIPTION
The band description:
35.
is clear, that is
explains in understandable language the breadth of learning to be covered in the
band
Comments: Please indicate specific strengths and/or areas for
improvement in the band description:
v
Need to add that students should have the
opportunity to learn to play an instrument and perform in an ensemble
v
Students have the opportunity to sing in a choir
v
Elective music subjects should be developed by
schools to cater for the particular areas of music interest; ensemble
performance, choir, composition, electronic music, study of music styles,
performance, music theatre etc.
CONTENT DESCRIPTIONS
The draft content descriptions:
36.
are clear, that is
explain in understandable language what is to be taught and learned
37.
are pitched
appropriately, that is realistic yet sufficiently challenging for students in
this band level
Comments: Please identify any content using the content
description number that you believe should/should not be included in the draft
curriculum. Give reasons for your selection such as specific and/or areas for
improvement
v Generic knowledge defies the uniqueness of
this subject !!
v Page 4 – here there is the statement ‘Learning in the
Arts and the development of aesthetic knowledge are sequential and cumulative.
The new content, skills and processes specified in each band will be revisited
in increasing complexity and sophistication in later bands.’ However it is essential that this documents
is not just a content
document but an activities document, but currently there is no attempt to
present anything sequential or cumulative. It states that by Year 10 students
improvise, trial, select, extend, manipulate and evaluate music ideas to
compose and arrange music. As students
have not been given adequate preparation in aural skills and music theory, and
thus may know nothing about texture, bass-lines, chordal progressions, the
compositional devices relative to different musical styles, music technology or
use traditional notation, the outcome from their attempts to compose and
improvise is lively to be clueless. Where is the sophistication in this? There is
certainly of these aspects in evidence in the Achievement Standards.
v There is need for greater connection between
earlier preamble statements with the included content descriptions—i.e.
musicianship—linked to theory, notation etc, at some time during the document.
Linear progression of ideas and thinking is not always present.
v
Need to add that students should have the
opportunity to learn to play an instrument
v
Students have the opportunity to sing in a choir
v
Elective music subjects should be developed by
schools to cater for the students’ particular areas of music interest; e.g.
ensemble performance, choir, composition, electronic music, study of music
styles, performance, music theatre, film music, writing a show or musical,
music craft etc. The ongoing development
of music literacy (aural skills, notation, improvisation, elements of music)
should form part of this study.
CONTENT ELABORATIONS
The draft content elaborations
38.
illustrate the
content descriptions effectively
39.
are clear, that is
explained understandable language
40.
are relevant to the
band level
Comments: Please indicate specific strengths and/or areas for
improvement with particular reference to specific content elaborations.
ACHIEVEMENTS STANDARDS
The draft achievement standard:
41.
is clear, that is
explains in understandable language what students should know and be able to do
in Music by the end of Year 10
42.
is pitched
appropriately, that is realistic yet sufficiently challenging for students at
the band level
Comments: Please indicate specific strengths and/or areas for improvement
in the achievement standard:
v Page 11 – the opening paragraph states that
the sequence of achievement standards describes progress in the learning area,
demonstrating a broad sequence in expected learning, and providing teachers
with a framework of growth and development. Also, it states that achievement
standards describe the quality of learning and show the depth of conceptual
understandings and the sophistication of skills. At this point of time, they certainly do few
of these things.
v These standards (Years 9 and 10) demand
nothing of the students other than vague creativity, free from a
knowledge-based context. For example, ‘students manipulate sound and silence to
achieve aesthetic outcomes when they perform and create music’. There is little
difference between this statement and that included in Foundation to Year
2. What is the expectation at year 10
with regard to level of difficulty, use of compositional techniques and level
of musicianship?
v The document is so vague that young teachers
won’t have achievement points to ‘hang their hats on’.
v There is a lack of linking with developmental
standards of child learning.
v There is nothing definite in terms of
content—expansion of language doesn’t mean depth of content !!
v There is a lack of skills mentioned in this
section. Specific language (key learning) and sequential learning patterns
(skills and details)—e.g. singing in particular pitches that suits young voices—should
be mentioned.
v The achievement standards contained at the
end of each band level are brief and not sufficiently descriptive enough of the
type of behaviour, skill and understanding that is required. This deficiency
needs to be remedied so that there is a clear distinction in the curriculum
overview so that it is tightly aligned with the scope and sequence anticipated
at this level.
MUSIC ACROSS FOUNDATION TO YEAR 10
Across the band levels for
Music, draft content descriptions:
43.
cover the important
learning for this subject
44.
show appropriate
progression of knowledge, understanding and skills
45.
provide coherence
and continuity
Comments:
v The document is long, repetitive, full of
general statements and presents only a vague framework of activities for each
subject area.
v In music education the issue of pedagogy is
vitally important, particularly in the area of musical performance, The
development of musical concepts and skills in the early years through singing
is hardly identified and there are only vague statements relating to singing
and playing.
v The design of the syllabus and the way it
has been structured is likely to be very difficult for generalist teachers to
access and interpret.
v The document needs to be clearly assessable
to all. However, it does not provide insight for teachers into the depth,
complexity and intellectual rigour that music offers.
v There is no music content or language
included—e.g. what sort of rhythms and pitch and other music concepts should be
introduced to ensure age-appropriate sequential learning.
v Learning activities include composing,
listening, performing with some reference to recording music leaving far too open
to an individual teacher’s interpretation as to whether or not a student should earn how to
transcribe or notate music.
v The material here does not recognise
cognitive skills, developmental process, logical learning sequence, all of
which underpin good music programs.
v The material does not provide even minimal
guidelines (or indeed any guidelines) which demeans the study of music, demeans
its practitioners and consigns it to such a poor level of importance and value
that results in it ultimately not being worth teaching.
v The material does not represent a
progressive course which has stages that can be assessed along the way.
v The material has no core language content !!
v There are no actual elements of music or
explanations of these elements or suggested sequential approaches to the
teaching of these elements.
v There is a lack of age-appropriate musical
vocabulary, content, skills and language references.
v The material is not teacher friendly !!
v There is no evidence of specific course
content, such as music specific knowledge, skills and processes, for specialist
music teachers to deliver a quality inspirational program and generalist
teachers would only be confused by what is included. Teachers require content and structure and a
glossary has these items – the curriculum doesn’t fulfil these expectations.
v There is insufficient detail here.
v There are no references to music notation
(functional musical literacy) when musical notation is a core skill for all
music teachers. This denial of a thorough grounding in musical notation is
directly equivalent to denying students of the right to functional literacy in
their own language subjects.
v There is a lack of recognition of the
importance of singing which is the physical embodiment of the musical language.
v There is no sequence for introducing pitch
and rhythm. The perception and cognition of pitch and rhythmic patterns is
fundamental to our understanding of music, a fact noted by many authorities on
music.
v No reference is made to Western traditional
music and yet this it the foundation of quality programs.
v The material here does not prepare students
for Year 11 and 12 music and for further study if desired.
v The curriculum does not provide a foundation
for potential vocational involvement learning to the sustainability of music as
a vocation in Australia.
v There are no guidelines for secondary
teachers regarding what primary school are teaching and therefore what the new
year 7 students should know.
v The crucial statements which should be
present in the Achievement Standards
are incredibly short and vague in relation to student outcomes. Linear
progression is missing. The opening paragraph states that the sequence of
Achievement Standards describes progress in the learning area as providing
demonstrated a broad sequence of in expected learning, and providing teachers
with a framework of growth and development. It also states that achievement
standards describe the quality of learning and show the depth of conceptual understanding
and the sophistication of skills. At this stage, these statements are too brief
and vague and certainly achieve few of these things. There is no clear picture
from one level to the next. In fact, the music achievement band for F – 2 seems
more suitable for F than 2.
v The achievement standards contained at the
end of each band level are altogether too brief and not descriptive enough of
the type of behaviour, skill and understanding that is required. This needs to
be developed further so that there is a clear distinction in the curriculum
overview, which is also tightly aligned with the scope and sequence.
v
Need to add that students should have the
opportunity to learn to play an instrument and perform in an ensemble
v
Students have the opportunity to sing in a choir
ICT
The definition of ICT
needs to be more expansive, considering digital literacy of students and the
emergence of technology. In the teaching of music, ICT is taking on a more
significant role with new programs being developed at an increasing rate. These
range from the teaching and creation of composition, aural training, class and
group singing, the teaching of instruments and ensembles. Performance and repertoire is abundantly
available on YouTube where students can compare and contrast performances. It also accommodates the needs of classes
where the students are at working at a wide range of standards, interests and
abilities. Online tuition is also developing. The curriculum needs to take into
account the shift in pedagogy, related curriculum design and the way technology
facilitates different modes of learning.
Instrumental and Vocal Instruction
While the document
refers to performance skills on instruments and voice and the need for
practice, there is little sense of the need for physical skills—fine motor
skill development and coordination—which must be developed continuously,
preferably beginning at a young age.
The document needs to
provide a framework which will ensure that schools embrace the responsibility
of providing some form of instrumental tuition, starting with a
financially-viable classroom instrumental approach and moving to provision of
instrumental tuition to enable the solo and ensemble performance already
referred to.
Students are
increasingly learning instruments outside the formal school musical curriculum
through private instrumental tuition or through self-taught on-line programs.
Both these means of instrumental music learning need to be encouraged and
supported by the music curriculum. There
are presently no overt references to these studies nor to the
externally-assessed achievements of students despite the recognition and
encouragement that most music educators already accord to these and the use
that students make of their instrumental learning in classroom music.
Across the band levels for Music, draft achievement
standards:
46.
are sequenced
appropriately, that is in an order consistent with your experience
47.
present increasingly
complex understanding and skills.
Comments:
v Please refer to the USA National Standards for Music Education document
for examples of sequential learning contained in their Content and Achievement
standards.
v The crucial statements which should be
present in the Achievement Standards
are incredible short and vague in relation to student outcomes. Linear
progression is missing. The opening paragraph states that the sequence of
Achievement Standards describes progress in the learning area as providing
demonstrated a broad sequence of in expected learning, and providing teachers with
a framework of growth and development. It also states that achievement
standards describe the quality of learning and show the depth of conceptual
understanding and the sophistication of skills. At this stage, they are brief
and vague and certainly do few of these things. There is no clear picture from
one level to the next. In fact, the music achievement band for F – 2 seems more
suitable for F than 2.
v The content description organisers in all
levels of the ACARA document need to be further refined so that there is
clarity across levels, with only additional qualification statements being used
rather than totally different statements.
v
The
perception and cognition of pitch and rhythmic patterns is fundamental to our
understanding of music, a fact noted in many authorities on music. One clear
proof to the syntactical nature of pitch and rhythm is that pitch and rhythmic
phenomena can be presented to learners in a logical sequence— there is no
comparable, cognitively valid learning sequence for music form, instrumental
timbre or interpretative nuance. The Australian Curriculum for Music should
incorporate a sequence of notated pitch and rhythm concepts. The sequence
should serve as a minimum standard for student attainment.
v
Pedagogy
is really important in all curriculum areas. Explicit statements should be
included into the curriculum document.
v The curriculum represents a denial of a
thorough grounding in musical notation.
Accordingly this is directly
equivalent to denying students the right to functional literacy in their
language subjects. Musical notation, aside from its historical validity, is a
core skill for students who wish to continue into upper secondary, tertiary and
professional levels
v
The Band
Description that accompanies each of the discrete levels—i.e K – 2, 3 – 4, 7 – 8,
9 – 10—is currently far too generic with only minor text changes at each level,
see pages 93, 97, 101, 105, 109.
v On page 14 there is the statements ‘In
Music, students will use the concepts and materials of music to compose, improvise,
arrange, perform, conduct and respond to their own and other’s work. They will
learn the elements of music including duration (rhythm and tempo), dynamics,
form, pitch (melody and harmony), and timbre (sound texture and quality).’ This draft fails to specify any continuum of
learning that involves terminology, symbols/notation, aural and visual
recognition of a scaffolded sequence of musical elements (eg crotchet, quaver,
semiquaver etc). This is the result of the absence of content. Without this knowledge, how will students be
able to compose, improvise, arrange, or perform in any meaningful way.
v On page 14 it states that ‘They [students]will
learn forms of notation to record and communicate music and musical idea’. With
no content concerning notation covered in the curriculum, students are being denied
the opportunity to become musically literate. This is like a school trying to
teach a new language for 11 years without teaching the students how to read it.
v On page 25 there is reference to the Arts
Industry. The training needed for the Arts industry requires a rich and
theoretical, analytical, and conventional understanding of Music. This
curriculum fails to develop any of these skills due to the absence of
references to music-specific knowledge and skills. Thus this curriculum denies
students the opportunity to develop as knowledgeable musicians, and ultimately
the opportunity to pursue a career in Music as an ‘appropriately and
highly-trained specialist’.
.
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