Participants in this study appeared to recognise the value and importance of children’s spontaneous musical activities and to encourage it describing the benefit for children’s holistic development and the role of music in attachment and bonding. However, they also appear to have identified benefits for children in attending organised, structured musical activities both within the home, but more substantially outside the home.
It is recommended that parents and carers are offered guidance and advice about the importance of acknowledging and valuing young children’s spontaneous musical activities in the home. It is a matter of concern that parents might lack confidence to instigate and encourage young children’s musical activities in the home;
It is recommended that an online database of trialled and validated musical resources be made available for parents and carers to use in the home;
It is recommended that this study is extended to include particular groups of children and families such as minority ethnic groups and children with disabilities;
It is recommended that a study to explore young children’s musical activities in early years settings be conducted to explore the understanding and practices of early childhood practitioners given the importance of young children’s spontaneous musical activities in their overall and holistic development as noted from the literature review in this report.
Eddie’s research is on Family Learning Birmingham, an initiative which aims to provide guidance for parents or carers who are either unemployed, on benefits or have very few qualifications by providing a way for families to learn together.
Martin Fautley (Birmingham City University), Pam Burnard and John Finney (Cambridge University), Pauline Adams (Institute of Education), Jonathan Savage (Manchester Metropolitan University).
How can composers and teachers be supported to work most effectively together?
How do professional composers make judgements about the quality of compositions and what are the indicators of progression? What correlation is there between these criteria and those of exam boards?
What does creative progression look like – for example the difference between a Year 7 and a Year 9 composition – and how can we ensure progression within the secondary curriculum, particularly given the genre-based approach?
What are the challenges around assessing creativity and how can students be supported to take risks, fail and experiment in a system where assessment is central?
PhD student Shannon Ludgate of the School of Education talks about her research on children’s use of touchscreen technology. Shannon describes her research and what she hopes to achieve during the course of her PhD.
The National Foundation for Youth Music has awarded grants to support 10 Exchanging Notes projects across England. Each project (a partnership between a school and specialist music provider) works with young people at risk of low attainment, disengagement, or educational exclusion to see how participation in regular music-making activities can enable achievement of musical, educational and wider outcomes. Researchers in the School of Education are supporting the project over a four-year period through the evaluation of the educational and musical outcomes of these new models.
Aim of research
This project aims to:
See how participation in regular music-making activities can enable achievement of musical, educational and wider outcomes
Explore these benefits across a variety of different musical approaches and styles
Human experience is endowed with meaning and the moral and ethical choices we face by living in an uncertain and changing world can be explored through drama. Perhaps our practice is all about becoming somebody different. It seems that the world is on the edge of something yet un-imagined and that humanity is forgetting to remember itself; particularly in light of recent social and political events. One way to remember what it is to be human in this time of crisis and to explore what the world means, is to “turn to art” for a “necessary response” (Neelands 2010:121). However, if we turn to art we must consider its place in education and the challenges that it faces in existing in that structure.
The title of the conference- becoming somebody different- was borne out of a realisation that values change practice and that practice changes our values. This is demonstrative of drama’s slithery nature; what is it? What is it for? Why are we doing what we are? What do we hope to achieve? Why is it important?
What is recognised is that by imagining and reasoning ‘as if’ and as an ‘other’ understandings of different contexts and peoples are created. Thus we can see, feel and imagine who we might become or indeed, who we might want to become.