By Jean Warren
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Extra resources for Totline
It has been notoriously difficult to plan for category 1 objectives in the classroom. While many music educators have placed knowledge ‘of’ as an ultimate aim of music education, there has been less agreement on how to achieve it. Metcalfe (1987) has shown that the history of music education is littered with good intentions, yet many music curricula have become reductionist about musical knowledge, that is, assuming that the only way we can teach music is by breaking down the holistic experience into chunks of knowledge ‘about’ and knowledge ‘how’.
Some writers such as Fletcher (1987) suggest that the only way to genuine musical understanding is via the development of performing/instrumental skills, that is, learning the craft. This position echoes the views of many writers music educators who feel that ‘know how’ should form the meat of music education. Knowledge ‘of’ music This form of musical knowledge is a knowledge ‘of’ music by direct acquaintance (Reid 1986). It implies the building of an understanding relationship with the music (in the same way that we get to know a person or a face).
Justifying their own judgements, They produce They express their own compositions that ideas and feelings in a demonstrate a coherent developing personal development of musical style exploiting ideas, consistency of instrumental and/or style and a degree of vocal possibilities, They individuality discriminate and comment on how and why changes occur within selected traditions including the particular contribution of significant performers and composers. They improvise and compose in different genres and styles, using harmonic and nonharmonic devices where relevant, sustaining and developing musical ideas and achieving different intended effects.
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