The Decline of Music Education in Queensland Secondary Schools - Assignment Example

The Decline of Music Education in Queensland Secondary Schools Introduction Music education is an enterprise that takes many forms and is provided in a wide variety of settings; discussions relating to its justification focus almost exclusively on the issue of music as a school curriculum subject. Music at the level of local, national, and global is evenly important. Local music signifies the current cultural perspective; music of a homeland meaningful to one's cultural distinctiveness; at the same time, the study of world's music promotes understanding of cultures across the world. In view of the existence of the National Curriculum, it might reasonably be concluded that the topic is not especially relevant at the present time. After all, music is a foundation subject and the arguments for its inclusion in the curriculum must surely have been won; it is no longer what was once described as an 'endangered subject'. However, is this really the case Individuals and professional bodies regularly issue earnest statements about the educational significance and value of music studies and express concerns over limited staffing and resources. While there appears to be a steady supply of secondary specialists, Music Education is understandably disappointed by the scant attention now being given to music in the education and training of secondary school teachers. It may seem to some observers as if musicians and music educationists constantly need to protect their subject against people who regarded arts as little more than dispensable extras or mere entertainments. Whether or not there are any educational policy-makers who would subscribe to such an extreme view is questionable, but music educationists often appear to be on the defensive. In addition, in an age of transparency and accountability many teachers report that they are often required to explain, to different audiences, why music is of value within the context of a general education. Objectives of the Study The study intends to draw insights among Secondary School Administrators, Faculty Members and Selected Students in Queensland about the decline of music education in their region. Furthermore it seeks to accomplish following specific goals: 1. To present the views of Secondary School Administrators, Faculty Members and Selected Students in Queensland about music education. 2. To describe how Secondary School Administrators, Faculty Members and Selected Students in Queensland have shown appreciation and preservation of music education. 3. To discover the impacts of music education to the curricular and socio-cultural dimensions in the Secondary Schools of Queensland. 4. To solicit plan of actions from Secondary School Administrators, Faculty Members and Selected Students in Queensland on how to effectively improve the quality of music education in Queensland Secondary schools. Statement of the Problem The study aims to document critically the current views among Secondary School Administrators, Faculty Members and Selected Students in Queensland on the decline of music education in their region. Furthermore it seeks to answer the following specific research questions: 1. What are the current views and insights of Secondary School Administrators, Faculty Members and Selected Students in Queensland 2. How do Secondary School Administrators, Faculty Members and Selected Students in Queensland describe music education in the schools today 3. Do Secondary School Administrators, Faculty Members and Selected Students in Queensland believe that, the music education in secondary schools has declined Do they have proof/s on their claims 4. In what specific ways appreciation and preservation of music education are demonstrated or concretized in secondary schools 5. What is the impact of music education to the curricular and socio-cultural dimensions in Secondary Schools of Queensland 6. If School Administrators, Faculty Members and Selected Students believe that music education should be appreciated and preserved, what are their propositions to improve the quality of music education in Secondary Schools of Queensland Review of Related Literature It was in the 1960s when college music curriculum is at its peak. Several projects were implemented during this decade, to name some are the: the Young Composers Project, the Yale Seminar on Music Education, and the Juilliard Repertory Project (Mark, 1996). However, traditional music has been taken for granted in the past century in various parts of the world. This may be due to the dominion of Western classical music (Regelski, 2003), and the increasing dominance of the popular music (Meyer, 1996). Unfortunately, under the overpowering impact of the mass media, mutually the classical and folk traditions were under immense threat. On the other hand, contemporary music is not often taught in class regardless of the fact that culture is continually evolving and, as a consequence, so is music. Added by Swanwick (1999) who stated that, music not only plays a vital role in cultural reproduction as well as social affirmation, it also has potential roles in one's development, for social evolution, change and cultural renewal, (p. 25). As to Salzman (2002) who agrees and writes that change has maintained to go beyond music and the arts while Harbison (1999) states that, the undertaking of composition is to reconstruct and reconnect the culture beginning the past to its existing context, which is imperative in continuing the course of developing the culture. To these ends, it is very important not only to preserve and generate the "classics" nevertheless also to educate about the valuable music of our time. As evidenced in the several studies, contemporary music continues to be out-of-the-way to audiences and bounded itself to an influential circle. Not numerous significant transformations have been traced in music classrooms, but, teachers carry on to be trained at universities generally in classical music and as a result, keep on teaching a limited array of all music so as to whatever is available. Although different music across the globe has been extensively discussed by music educators, their limited expertise and resources enclose their educational effect. Thus, traditional curriculum and also music education have not responded well to the types of music of the traditional, popular and contemporary cultures on hand in the real world. Some people have absolutely ignored the verity that countless classical traditions were developed at the start as trendy culture among their generations but were only later known as classics later than their popularity faded. On the other side, there are several music educators who had felt that music education is in crisis, one evidence was noted in the website of College Music Society in 2008 in one their announcements for the 2008 annual conference where they marked these statements "what is happening in music today is not at all dissimilar to a global warming crisis for our field. If certain desperation is detected in this call, it is meant only to break through the encrusted proprieties of academic pretension. Ideas that may have served us well in the past [may] now hold us back"... (College Music Society, 2008). Likewise, former President Joan Brandvold Schmidt, of USA's NSBAA or National School Boards Association, wrote "This is a dark and dangerous time for music education programs. The parallel forces of political pressure and economic reality have reached a critical juncture, and the result is a toxic environment that jeopardizes the very existence of an education system that serves the needs of the whole child"(Pascoe, et. al. n.d.). Conceptual Paradigms Paradigms in music education (Kuhn, 1996) entail consensus in a scientific community on: what is at this time held to be true; up to standard methodologies; and (c) suitable instruments and tools. The proponent for this study believes that the reported widespread dissatisfaction among parents, students and community leaders regarding the low quality music education in some schools in Queensland must be rightfully addressed by the Department of Education of Australian government, School administrators, affiliating agencies of the schools, parents and also by the learners themselves. If policy making body, school board executives and parents consider music as a curricular subject and an integral component for every child's education then, the needs and abilities of the learners must comprehensively be delivered. To achieve this, (The College Music Society, 2005) effective music teaching must be guaranteed and should take place in the secondary schools. Educators must reacquaint themselves about curricular reform. The nature of music education depends on the nature of music. Several music education methods are applied today and examples include Jacques-Dalcroze, Orff, Kodaly, and Comprehensive Musicianship (Choksy, 1985). Music educators can showcase abstract musical concepts in a real, actual manner, offering the potential for considerable improvements to today's methodologies. One essential criterion of tolerability or acceptability may be the degree to which government-mandated assessment are written using words that implicitly requires customary notation and/or instruments, in this manner limiting the opportunity to increase efficiencies through modernism or innovation in these areas. Ballantyne, Jullie and Packer (2004) stated that, quality teaching in schools and teacher's quality of pre-service preparation are directly connected; the National Review of Music Education and Stevens Report expressed the same idea. Furthermore, the National Review reiterated that, generalist classroom teachers ought to possess: Foundation music knowledge and skills; A general introduction to music and its role in student learning with a focus on demonstrating a balance of musical knowledge, understanding, skills and values; Confidence in teaching music; Cross curriculum learning involving music; Working collaboratively with music specialist teachers; and Practical teaching and learning strategies to support students learning music (National Review of School Music Education, 2005; 103). Various multifaceted music curriculum models or the MMC Model responds to criteria, relevant issues, and parameters naturally involved or frequently overlooked. This MMC Model and the chase up dialogue are based on the outcome of a larger schoolwork (Leung, 2003a). The MMC Model come within reach of curriculum from a comprehensive standpoint, and underscores the significance of addressing different magnitude and issues in scheming music curriculum. It aims to direct stakeholders in music education to reflect on all appropriate dimensions indispensable for planning an efficient curriculum. Materials and Methods The study will implement the descriptive research design. Descriptive research as defined by Best (1970), is concerned with: relationships or conditions that exist; prevailing practices; points of views, beliefs, and attitudes which are held; processes which are going on; effects that are felt; or the developing trends. At times, descriptive research may be concerned about how, what it is or what presently exists and is related to some proceeding phenomenon that has influenced or may have affected a present condition or event. In particular, the research will make use of the exploratory interview method to arrive on the data that are necessary for the study. Typically, interview method in research scores a move away on or after seeing human subjects as merely manipulable and information as somehow peripheral to individuals, and towards concerning knowledge as generated involving humans, often all the way through conversations (Kvale, 1996:11). Interview, an exchange of views between two or other people on an issue of mutual interest and emphasizes the social positions of research data. It is not completely either subjective or objective, but it is inter subjective. It enable participants - whether interviewers or interviewees, to share their interpretations of the kind of world that they live, and to articulate how they regard circumstances from their own positions (Cohen, Manion and Morrison, 2000). In addition, exploratory interviews are generally designed (Oppenheim, 1992:65) to be fundamentally heuristic and inquire about to develop hypotheses relatively than to accumulate facts and numbers. It recurrently seeks to cover emotionally loaded topics and would require skill on the side of the interviewer who will handle the interview situation, enabling participants to talk freely and emotionally. Richness, depth, honesty and authenticity, about their Experiences will be then be relayed. The interview finds qualitative knowledge shared in normal language and not aiming on quantification. Sampling Technique As to the sampling technique, purposive sampling will be used in this research since it targets only the Secondary Schools based in Queensland Australia which are the following: Blue Mountains Hotel School, Central Queensland University Sydney International Campus, Bilambil Primary School, Beenleigh State High School, University of Queensland, Forest Lake College, Tafe Queensland School, Shailer Park State High School, Groves Christian College, Loganlea State High School, Christian Outreach College Brisbane. The population size of currently enrolled students, currently employed faculty members, support staff and school administrators during the academic year 2008 - 2009 will have to be determined prior to the determination of exact number of total respondents, who may then be selected randomly. Since this is a qualitative study it is expected that, only very few (about 10-15 school administrators, 10-15 faculty members, and 10-15 students in each year level for every school selected) respondents are considered. Instruments The researcher will develop a structured interview guide with questions about the variables of the study. Each variable would have five (5) questions regarding the participant's current views, insights, beliefs, specific ways appreciation, preservation, impacts and action plans about music education in secondary schools. The responses will then be analyzed and interpreted accordingly and statistics will no longer be necessary. Further, the ethical aspects of the interview require to be borne in mind, ensuring that informed consent, confidentiality and beneficence are assured of. Transcribing responses may require other instruments like video, voice recording and record keeping materials. Analysis Once information from the interview has been gathered, the next stage is analyzing them, frequently by some type of coding. In qualitative data, analysis is approximately unavoidably interpretive therefore; the data analysis is a smaller amount and is more of a reflexive, imprudent interaction connecting the researcher and the de-contextualized data (Cohen, Manion and Morrison, 2000). References Ballantyne, Julie and Packer, Jan. 2004. 'Effectiveness of pre-service music teacher education programs: perceptions of early-career music teachers'. Music Education Research. Vol 6, No 3, November, 299-312. Choksy, L., 1985. Teaching Music in the Twentieth Century, Prentice-Hall, ISBN: 9780138926625. Cohen, L., Manion, L. and Morrison, K. 2000. Research Methods in Education, 5th edition. Taylor & Francis Group RoutledgeFalmer 11 New Fetter Lane, London EC4P 4EE and 29 West 35th Street, New York, NY 10001. College Music Society, 2008 Call for Papers, http://www.music.org Harbison, J. 1999. Two Tanglewood talks. In B. R. Simms (Ed.), Composers on modern musical culture: An anthology of readings on twentieth-century music, pp. 198-204. New York: Schirmer Books. Hickey, M. and Rees, F. 2000. Designing A Blueprint For Curricular Reform In Music Teacher Education. Viewed on January 29, 2009. http://symposium.music.org/cgi-bin/m_symp_show.plid=762 Encyclopdia Britannica. 2009. Arithmetic mean. Viewed Encyclopdia Britannica Online. January 31 2009 . Kuhn, T., 1996, The Structure of Scientific Revolutions, ISBN: 0-226-45808-3. Leung, C. (2004). Building a New Music Curriculum: A Multi-faceted approach. Action, Criticism, andTheory for Music Education. Vol.3, #2 (July 2004). http://mas.siue.edu/ACT/v3/Leung04.pdf Mark, M. L. 1996. Contemporary music education. 3rd edition). New York : Schirmer Books. Meyer, G. D. 1996) 'Cultural globalization and local identity: The case of Belgian popular music'. Popular Music and Society, 20(1), 123-134. National Review of School Music Education. 2005. 'Guidelines for the broader community supporting music in schools'. Guidelines for universities and schools of education. National Review of School Music Education, 2005. 103. Regelski, T. A. 2003. Critical theory and praxis: Professionalizing music education. Viewed January 30, 2009 http://www.nyu.edu/education/music/mayday/maydaygroup/index.htm. Salzman, E. 2002. Twentieth-century music: An introduction, 4th ed. New Jersey: Prentice Hall. The College Music Society. 2000. Music. Viewed January 29, 2009. http://www.collegemusicsociety.org The MathWorks, Inc. 2009. Analysis of variance. Viewed January 29, 2009. http://www.mathworks.com/access/helpdesk/help/toolbox/stats/index.html/access/helpdesk/help/toolbox/stats/bqttcvf.html&http://search.yahoo.com/searchp=ANOVA+is&vc=&fr=fptb-yff3&toggle=1&cop=mss&ei=UTF-8&fp_ip=PH The MathWorks, Inc. 2009. Mutivariate regression. Viewed January 29, 2009. http://www.mathworks.com/access/helpdesk/help/toolbox/stats/index.html/access/helpdesk/help/toolbox/stats/bqttcvf.html&http://search.yahoo.com/searchp=ANOVA+is&vc=&fr=fptb-yff3&toggle=1&cop=mss&ei=UTF-8&fp_ip=PH Salkind, N.J. 2005, 'Writing a research proposal'. 6th edn, Exploring Research, Pearson Education, New Jersey, pp. 249-251. Swanwick, K. 1999. Teaching music musically. London & New York: Routledge. The Decline of Music Education in Queensland Secondary Schools Introduction Music education is an enterprise that takes many forms and is provided in a wide variety of settings; discussions relating to its justification focus almost exclusively on the issue of music as a school curriculum subject. Music at the level of local, national, and global is evenly important. Local music signifies the current cultural perspective; music of a homeland meaningful to one's cultural distinctiveness; at the same time, the study of world's music promotes understanding of cultures across the world. In view of the existence of the National Curriculum, it might reasonably be concluded that the topic is not especially relevant at the present time. After all, music is a foundation subject and the arguments for its inclusion in the curriculum must surely have been won; it is no longer what was once described as an 'endangered subject'. However, is this really the case Individuals and professional bodies regularly issue earnest statements about the educational significance and value of music studies and express concerns over limited staffing and resources. While there appears to be a steady supply of secondary specialists, Music Education is understandably disappointed by the scant attention now being given to music in the education and training of secondary school teachers. It may seem to some observers as if musicians and music educationists constantly need to protect their subject against people who regarded arts as little more than dispensable extras or mere entertainments. Whether or not there are any educational policy-makers who would subscribe to such an extreme view is questionable, but music educationists often appear to be on the defensive. In addition, in an age of transparency and accountability many teachers report that they are often required to explain, to different audiences, why music is of value within the context of a general education. Objectives of the Study The study intends to draw insights among Secondary School Administrators, Faculty Members and Selected Students in Queensland about the decline of music education in their region. Furthermore it seeks to accomplish following specific goals: 5. To present the views of Secondary School Administrators, Faculty Members and Selected Students in Queensland about music education. 6. To describe how Secondary School Administrators, Faculty Members and Selected Students in Queensland have shown appreciation and preservation of music education. 7. To discover the impacts of music education to the curricular and socio-cultural dimensions in the Secondary Schools of Queensland. 8. To solicit plan of actions from Secondary School Administrators, Faculty Members and Selected Students in Queensland on how to effectively improve the quality of music education in Queensland Secondary schools. Statement of the Problem The study aims to document critically the current views among Secondary School Administrators, Faculty Members and Selected Students in Queensland on the decline of music education in their region. Furthermore it seeks to answer the following specific research questions: 1. What are the current views and insights of Secondary School Administrators, Faculty Members and Selected Students in Queensland 2. How do Secondary School Administrators, Faculty Members and Selected Students in Queensland describe music education in the schools today 3. Do Secondary School Administrators, Faculty Members and Selected Students in Queensland believe that, the music education in secondary schools has declined Do they have proof/s on their claims 4. In what specific ways appreciation and preservation of music education are demonstrated or concretized in secondary schools 5. What is the impact of music education to the curricular and socio-cultural dimensions in Secondary Schools of Queensland 6. If School Administrators, Faculty Members and Selected Students believe that music education should be appreciated and preserved, what are their propositions to improve the quality of music education in Secondary Schools of Queensland Review of Related Literature It was in the 1960s when college music curriculum is at its peak. Several projects were implemented during this decade, to name some are the: the Young Composers Project, the Yale Seminar on Music Education, and the Juilliard Repertory Project (Mark, 1996). However, traditional music has been taken for granted in the past century in various parts of the world. This may be due to the dominion of Western classical music (Regelski, 2003), and the increasing dominance of the popular music (Meyer, 1996). Unfortunately, under the overpowering impact of the mass media, mutually the classical and folk traditions were under immense threat. On the other hand, contemporary music is not often taught in class regardless of the fact that culture is continually evolving and, as a consequence, so is music. Added by Swanwick (1999) who stated that, music not only plays a vital role in cultural reproduction as well as social affirmation, it also has potential roles in one's development, for social evolution, change and cultural renewal, (p. 25). As to Salzman (2002) who agrees and writes that change has maintained to go beyond music and the arts while Harbison (1999) states that, the undertaking of composition is to reconstruct and reconnect the culture beginning the past to its existing context, which is imperative in continuing the course of developing the culture. To these ends, it is very important not only to preserve and generate the "classics" nevertheless also to educate about the valuable music of our time. As evidenced in the several studies, contemporary music continues to be out-of-the-way to audiences and bounded itself to an influential circle. Not numerous significant transformations have been traced in music classrooms, but, teachers carry on to be trained at universities generally in classical music and as a result, keep on teaching a limited array of all music so as to whatever is available. Although different music across the globe has been extensively discussed by music educators, their limited expertise and resources enclose their educational effect. Thus, traditional curriculum and also music education have not responded well to the types of music of the traditional, popular and contemporary cultures on hand in the real world. Some people have absolutely ignored the verity that countless classical traditions were developed at the start as trendy culture among their generations but were only later known as classics later than their popularity faded. On the other side, there are several music educators who had felt that music education is in crisis, one evidence was noted in the website of College Music Society in 2008 in one their announcements for the 2008 annual conference where they marked these statements "what is happening in music today is not at all dissimilar to a global warming crisis for our field. If certain desperation is detected in this call, it is meant only to break through the encrusted proprieties of academic pretension. Ideas that may have served us well in the past [may] now hold us back"... (College Music Society, 2008). Likewise, former President Joan Brandvold Schmidt, of USA's NSBAA or National School Boards Association, wrote "This is a dark and dangerous time for music education programs. The parallel forces of political pressure and economic reality have reached a critical juncture, and the result is a toxic environment that jeopardizes the very existence of an education system that serves the needs of the whole child"(Pascoe, et. al. n.d.). Conceptual Paradigms Paradigms in music education (Kuhn, 1996) entail consensus in a scientific community on: what is at this time held to be true; up to standard methodologies; and (c) suitable instruments and tools. The proponent for this study believes that the reported widespread dissatisfaction among parents, students and community leaders regarding the low quality music education in some schools in Queensland must be rightfully addressed by the Department of Education of Australian government, School administrators, affiliating agencies of the schools, parents and also by the learners themselves. If policy making body, school board executives and parents consider music as a curricular subject and an integral component for every child's education then, the needs and abilities of the learners must comprehensively be delivered. To achieve this, (The College Music Society, 2005) effective music teaching must be guaranteed and should take place in the secondary schools. Educators must reacquaint themselves about curricular reform. The nature of music education depends on the nature of music. Several music education methods are applied today and examples include Jacques-Dalcroze, Orff, Kodaly, and Comprehensive Musicianship (Choksy, 1985). Music educators can showcase abstract musical concepts in a real, actual manner, offering the potential for considerable improvements to today's methodologies. One essential criterion of tolerability or acceptability may be the degree to which government-mandated assessment are written using words that implicitly requires customary notation and/or instruments, in this manner limiting the opportunity to increase efficiencies through modernism or innovation in these areas. Ballantyne, Jullie and Packer (2004) stated that, quality teaching in schools and teacher's quality of pre-service preparation are directly connected; the National Review of Music Education and Stevens Report expressed the same idea. Furthermore, the National Review reiterated that, generalist classroom teachers ought to possess: Foundation music knowledge and skills; A general introduction to music and its role in student learning with a focus on demonstrating a balance of musical knowledge, understanding, skills and values; Confidence in teaching music; Cross curriculum learning involving music; Working collaboratively with music specialist teachers; and Practical teaching and learning strategies to support students learning music (National Review of School Music Education, 2005; 103). Various multifaceted music curriculum models or the MMC Model responds to criteria, relevant issues, and parameters naturally involved or frequently overlooked. This MMC Model and the chase up dialogue are based on the outcome of a larger schoolwork (Leung, 2003a). The MMC Model come within reach of curriculum from a comprehensive standpoint, and underscores the significance of addressing different magnitude and issues in scheming music curriculum. It aims to direct stakeholders in music education to reflect on all appropriate dimensions indispensable for planning an efficient curriculum. Materials and Methods The study will implement the descriptive research design. Descriptive research as defined by Best (1970), is concerned with: relationships or conditions that exist; prevailing practices; points of views, beliefs, and attitudes which are held; processes which are going on; effects that are felt; or the developing trends. At times, descriptive research may be concerned about how, what it is or what presently exists and is related to some proceeding phenomenon that has influenced or may have affected a present condition or event. In particular, the research will make use of the exploratory interview method to arrive on the data that are necessary for the study. Typically, interview method in research scores a move away on or after seeing human subjects as merely manipulable and information as somehow peripheral to individuals, and towards concerning knowledge as generated involving humans, often all the way through conversations (Kvale, 1996:11). Interview, an exchange of views between two or other people on an issue of mutual interest and emphasizes the social positions of research data. It is not completely either subjective or objective, but it is inter subjective. It enable participants - whether interviewers or interviewees, to share their interpretations of the kind of world that they live, and to articulate how they regard circumstances from their own positions (Cohen, Manion and Morrison, 2000). In addition, exploratory interviews are generally designed (Oppenheim, 1992:65) to be fundamentally heuristic and inquire about to develop hypotheses relatively than to accumulate facts and numbers. It recurrently seeks to cover emotionally loaded topics and would require skill on the side of the interviewer who will handle the interview situation, enabling participants to talk freely and emotionally. Richness, depth, honesty and authenticity, about their Experiences will be then be relayed. The interview finds qualitative knowledge shared in normal language and not aiming on quantification. Sampling Technique As to the sampling technique, purposive sampling will be used in this research since it targets only the Secondary Schools based in Queensland Australia which are the following: Blue Mountains Hotel School, Central Queensland University Sydney International Campus, Bilambil Primary School, Beenleigh State High School, University of Queensland, Forest Lake College, Tafe Queensland School, Shailer Park State High School, Groves Christian College, Loganlea State High School, Christian Outreach College Brisbane. The population size of currently enrolled students, currently employed faculty members, support staff and school administrators during the academic year 2008 - 2009 will have to be determined prior to the determination of exact number of total respondents, who may then be selected randomly. Since this is a qualitative study it is expected that, only very few (about 10-15 school administrators, 10-15 faculty members, and 10-15 students in each year level for every school selected) respondents are considered. Instruments The researcher will develop a structured interview guide with questions about the variables of the study. Each variable would have five (5) questions regarding the participant's current views, insights, beliefs, specific ways appreciation, preservation, impacts and action plans about music education in secondary schools. The responses will then be analyzed and interpreted accordingly and statistics will no longer be necessary. Further, the ethical aspects of the interview require to be borne in mind, ensuring that informed consent, confidentiality and beneficence are assured of. Transcribing responses may require other instruments like video, voice recording and record keeping materials. Analysis Once information from the interview has been gathered, the next stage is analyzing them, frequently by some type of coding. In qualitative data, analysis is approximately unavoidably interpretive therefore; the data analysis is a smaller amount and is more of a reflexive, imprudent interaction connecting the researcher and the de-contextualized data (Cohen, Manion and Morrison, 2000). References Ballantyne, Julie and Packer, Jan. 2004. 'Effectiveness of pre-service music teacher education programs: perceptions of early-career music teachers'. Music Education Research. Vol 6, No 3, November, 299-312. Choksy, L., 1985. Teaching Music in the Twentieth Century, Prentice-Hall, ISBN: 9780138926625. Cohen, L., Manion, L. and Morrison, K. 2000. Research Methods in Education, 5th edition. Taylor & Francis Group RoutledgeFalmer 11 New Fetter Lane, London EC4P 4EE and 29 West 35th Street, New York, NY 10001. College Music Society, 2008 Call for Papers, http://www.music.org Harbison, J. 1999. Two Tanglewood talks. In B. R. Simms (Ed.), Composers on modern musical culture: An anthology of readings on twentieth-century music, pp. 198-204. New York: Schirmer Books. Hickey, M. and Rees, F. 2000. Designing A Blueprint For Curricular Reform In Music Teacher Education. Viewed on January 29, 2009. http://symposium.music.org/cgi-bin/m_symp_show.plid=762 Encyclopdia Britannica. 2009. Arithmetic mean. Viewed Encyclopdia Britannica Online. January 31 2009 . Kuhn, T., 1996, The Structure of Scientific Revolutions, ISBN: 0-226-45808-3. Leung, C. (2004). Building a New Music Curriculum: A Multi-faceted approach. Action, Criticism, andTheory for Music Education. Vol.3, #2 (July 2004). http://mas.siue.edu/ACT/v3/Leung04.pdf Mark, M. L. 1996. Contemporary music education. 3rd edition). New York : Schirmer Books. Meyer, G. D. 1996) 'Cultural globalization and local identity: The case of Belgian popular music'. Popular Music and Society, 20(1), 123-134. National Review of School Music Education. 2005. 'Guidelines for the broader community supporting music in schools'. Guidelines for universities and schools of education. National Review of School Music Education, 2005. 103. Regelski, T. A. 2003. Critical theory and praxis: Professionalizing music education. Viewed January 30, 2009 http://www.nyu.edu/education/music/mayday/maydaygroup/index.htm. Salzman, E. 2002. Twentieth-century music: An introduction, 4th ed. New Jersey: Prentice Hall. The College Music Society. 2000. Music. Viewed January 29, 2009. http://www.collegemusicsociety.org The MathWorks, Inc. 2009. Analysis of variance. Viewed January 29, 2009. http://www.mathworks.com/access/helpdesk/help/toolbox/stats/index.html/access/helpdesk/help/toolbox/stats/bqttcvf.html&http://search.yahoo.com/searchp=ANOVA+is&vc=&fr=fptb-yff3&toggle=1&cop=mss&ei=UTF-8&fp_ip=PH The MathWorks, Inc. 2009. Mutivariate regression. Viewed January 29, 2009. http://www.mathworks.com/access/helpdesk/help/toolbox/stats/index.html/access/helpdesk/help/toolbox/stats/bqttcvf.html&http://search.yahoo.com/searchp=ANOVA+is&vc=&fr=fptb-yff3&toggle=1&cop=mss&ei=UTF-8&fp_ip=PH Salkind, N.J. 2005, 'Writing a research proposal'. 6th edn, Exploring Research, Pearson Education, New Jersey, pp. 249-251. Swanwick, K. 1999. Teaching music musically. London & New York: Routledge. Read More