DOCSLIB.ORG

Bridging the Gap Between Generation Z & Classical Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bridging the Gap Between Generation Z & Classical Music MUZIC APPRECIATION: BRIDGING THE GAP BETWEEN GENERATION Z & CLASSICAL MUSIC By Timothy Dale Green Liberty University A MASTER’S CURRICULUM PROJECT PRESENTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC EDUCATION Lynchburg, Virginia April 2018 ii MUZIC APPRECIATION: BRIDGING THE GAP BETWEEN GENERATION Z & CLASSICAL MUSIC by Timothy Dale Green A Curriculum Project Presented in Partial Fulfillment Of the Requirements for the Degree Master of Arts in Music Education Liberty University, Lynchburg, VA April 2018 APPROVED BY: Mindy Damon, Ed.D., Ed.S., M.M., B.S., Advisor Stephen Muller, D.Min., M.M. B.M., Reader Vernon M. Whaley, PhD., M.M., B.M., Dean of the School of Music iii Abstract Today’s music educators stand in a strategic position in the history of classical music in America. At a time when symphony orchestras are struggling to survive due to an aging and declining customer base, a generation of musical omnivores are ripe for a connection to the world of classical music. Generation Z has a vast, eclectic musical appetite, choosing to listen to a variety of genres and styles of music instead of adopting a generational style. However, they have limited interaction with classical music due to certain non-musical attitudes and values. It is possible the disconnect between Generation Z and classical music can be bridged with an innovative approach to music appreciation courses in higher education. This study examined existing literature concerning the non-music major student’s interaction with classical music in an effort to determine factors that influence Generation Z’s attitudes and exposure to classical music. The research revealed that the attitudes, behaviors, and values of Generation Z are influential factors in the interaction and enjoyment of classical music. These factors informed the creation of a curricular framework that facilitates engaging popular music to make connections with other genres in a music appreciation course for non-music majors. Keywords: classical music, post-millennial students, Generation Z, music appreciation, music education, musical omnivore, collegiate non-music major iv Table of Contents ABSTRACT .................................................................................................................................. iii Chapter One: Introduction ...............................................................................................................1 Background .........................................................................................................................2 Statement of the Problem ....................................................................................................4 Statement of the Purpose ....................................................................................................5 Significance of the Project ..................................................................................................6 Research Questions and Hypothesis ...................................................................................6 Definition of Terms .............................................................................................................7 Chapter Two: Literature Review ....................................................................................................9 Generation Z Characteristics and Values ............................................................................9 Generation Z Interaction with Music ................................................................................11 Factors Influencing Musical Choices ................................................................................15 Music Appreciation Curriculum .......................................................................................23 Chapter Three: Methods ...............................................................................................................29 Introduction ........................................................................................................................29 Research Questions and Hypothesis .................................................................................30 Chapter Four: Research Findings...................................................................................................31 Factors Influencing Classical Music Interaction................................................................31 How Can muZic Appreciation Help? ................................................................................34 Chapter Five: Conclusions and Recommendations .......................................................................37 muZic Appreciation ..........................................................................................................37 Appendix A: Curriculum Project ..................................................................................................41 v Appendix B: Exploring Music Form .............................................................................................68 Appendix C: Voice/Instrument Classification Form .....................................................................69 Appendix D: Music Listening Analysis Form ...............................................................................70 References .....................................................................................................................................71 1 Chapter One: Introduction Music appreciation courses have long been a staple in university classrooms. As a result of a movement which reached its height in the early 1900s, the scope of music appreciation extended beyond the classroom to encompass popular media and include the latest technology.1 An understanding of and appreciation for classical, or Western art music was required to be considered an educated person.2 But decades of shifts in educational priorities and funding as well as constant progression in popular music and technology have drastically altered the musical landscape in America.3 A new group of students is filling college and university classrooms. Generation Z, a widely diverse and constantly connected generation sometimes referred to as “digital natives,” has stepped out of the shadows of their generational siblings, the Millennials. Though some researchers refer to them as young or late millennials, the trend is to mark the new generation with those born in the mid-1990s.4 Gen-Z attitudes and values closely resemble those of Millennials only more intense, earning them the descriptor “millennials on steroids.”5 These generations have ushered in a musical mindset differing from previous generations, being the 1. Michael Mark and Charles Gary, A History of American Music Education, Lanham, MD: Rowan & Littlefield Education, 2007. 2. Heather McNeely, “Questioning Boundaries in Traditional Music Appreciation Pedagogy: A Study on the Effect of an Attentive Listening-Based Approach on the Music Appreciation Achievement of College, Non- Music Majors.” 3. Lewis Gordon, “College Music Appreciation: Pedagogical Approaches and Preliminary Findings.” College Music Symposium 36, (1996): 103. 4. Joan Hope, “Get Your Campus Ready for Generation Z.” Enrollment Management Report 20 no. 4 (2017), 4. 5. Libby Kane, “Meet Generation Z, the ‘Millennials on Steroids’ Who Could Lead the Charge for Change in the US.” Business Insider (September 15, 2017). http://www.businessinsider.com/generation-z-profile-2017-9. 2 first without a generational music preference, 6 choosing instead to listen to a wide range of genres and styles and sometimes referred to as musical omnivores.7 Generation Z has a vast, eclectic musical appetite, but does not interact with classical music. This conflict could be addressed and overcome in collegiate non-music major students with an innovative approach to music appreciation curriculum. Background Music education in America has a long and sometimes tenuous history. In 1837, Lowell Mason and his associates, confident music should be taught to children in school, volunteered their time to teach music in the Boston public school system. The following year Boston added music to the school’s curriculum.8 Public schools throughout America began following Boston’s example. In 1862 John Knowles Paine, the newly hired organist at Harvard University9 began offering a series of music lectures to all undergraduate students on the topic of music history and appreciation.10 Paine would go on to head Harvard’s department of music, the first in an American university.11 Throughout the 1880s Thomas Surrette gave lecture recitals in the United 6. Richard Sweeney, “Millennial Behaviors & Demographics.” New Jersey Institute of Technology. December 22, 2006. https://certi.mst.edu/media/administrative/certi/documents/Article-MillennialBehaviors.pdf. 7. Alexander Legeros, “The Case for Engaging Millennials in Classical Music: Classical Music is in Purgatory,” Retrieved from the University of Minnesota Digital Conservancy, (2016): 6, http://hdl.handle.net/ 11299/180416. 8. Edward Birte, History of Public School Music in the United States. Philadelphia: Oliver Ditson Company, 1937. 9. John Knowles Paine – 1906. Online Text. Retrieved from the Library of Congress, https://www.loc.gov/ item/ihas.200185359/. 10. McNeely, “Questioning Boundaries,” 11. 11. John Knowles Pain – 1906. 3 States and England, playing musical examples and providing historical and biographical information about the music and composers.12
Load more

Recommended publications
  • Network Notebook
    Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more.
    [Show full text]
  • Music Studies (MUS) 1
    Music Studies (MUS) 1 MUS 135 Musicology Research 3 MUSIC STUDIES (MUS) Introduction to the basic tools of musicological inquiry, including music vocabulary, reading in the discipline, basic library research, and MUS 100 Fundamentals of Western European Music Theory 2 expository writing; cultural awareness; attentive listening to Western and Fundamentals of the notation and underlying concepts of Western global music. European art music and related traditions, including staves, clefs & MAC: MAC CritThink Hum and Fine Art pitches, rhythm & meter, major & minor scales, key signatures, intervals, Notes: Open to all University students. and triads. MUS 201 Analysis of Western European Music and Related Traditions III MUS 101 Analysis of Western European Music and Related Traditions I 3 3 Elements of Western European art music and related traditions, including Advanced study of Western European art music and related traditions, rhythm & meter, species counterpoint, figured bass, triads, and seventh including modulation, modal mixture, Neapolitan, and augmented-sixth chords; introduction to part writing, diatonic harmonic progression, chords; introduction to small forms, including binary, ternary, variations, phrases, and cadences. Intended to be taken with MUS 105. and vocal forms. Intended to be taken with MUS 205. Prerequisites: Passing score on the music fundamentals exam or Prerequisites: MUS 102 and MUS 106 or permission of instructor. successful completion of MUS 100. Music major or music minor. MUS 202 Analysis of Western European Music
    [Show full text]
  • Music Appreciation April 23, 2020
    Music Virtual Learning Music Appreciation April 23, 2020 Music Appreciation Lesson: April 23, 2020 Objective/Learning Target: Students will learn about the romantic era composers and their contributions to classical music. Bell Work Painting by Casper David Friedrich, Wanderer above the Sea of Fog. Take a look at this painting & think about what you have learned about the romantic era: Write about two emotions you see expressed in this famous painting? In what ways has the artist expressed those emotions? ● Romanticism encouraged artists to seek individual paths of expressing emotions. ● Romantics valued nature, the supernatural, myths, realm beyond the everyday, and national pride. ● Political and economic events impacted the way composers wrote music and artists expressed their emotions. Lesson Franz Lizst Franz Liszt ● Born: 1811 ● Hungarian composer ● Virtuoso at playing and composing ● Credited with the creation of the symphonic poem- an extended single movement work for orchestra inspired by paintings, plays, poems or other literary or visual works expressed through music. ● Famous works: Rhapsody no. 2 & La Campanella Feliz Mendelossohn Felix Mendelossohn ● Born in Germany: 1809 ● Child prodigy ● Composed the incidental music for Shakespeare’s play “A Midsummer Night’s Dream.” ● Was also inspired to compose through his travels. ● Notable pieces: Scherzo from “A Midsummer Night’s Dream” and the Fingal’s Cave Overture, also known as the Hebrides, in reference to the rocky coast and ancient caverns of Scotland. Robert Schumann Robert Schumann ● Born: 1810 ● Focused on one genre of composing at a time. Piano was his first and most prolific. ● Married Clara Wieck, daughter of his first music teacher ● Promoted the music of Chopin, Berlioz and Brahms-all were close friends.
    [Show full text]
  • Comprehensive Course Syllabus Music Appreciation
    Comprehensive Course Syllabus Music Appreciation Course Description: In Music Appreciation, students will recognize the development of music from a historical and cultural perspective. Students will study the fundamentals of music and discover basic music terminology, instrument families, tempo, rhythm, form and meter. These elements will then be used throughout the course as a foundation for discussion of music throughout history. Eras covered will include Medieval, Renaissance, Baroque, Classical, Romantic and a variety of 20th century genres. Students will gain an understanding of the context in which music was created by recognizing and aurally identifying style characteristics, genres, and representative masterworks from various periods. INSTRUCTOR: Lara Brink OFFICE: D105 OFFICE HOURS: C: 10:00am-11:00am I: 2:00pm-3:00pm Also available by Appointment CONTACT INFORMATION: Office Phone: 630-907-5915 E-mail: [email protected] MEETING TIMES: A-B, D (3) MEETING ROOM: D110 TEXTS/MATERIALS: • Katherine Charlton, Experience Music, 5th Edition (textbook) • Laptop/Tablet • Notebook • Pencil • Headphones (when needed) Essential Content: Through listening and analysis along with researching the historical and cultural contexts of music from different eras in Music Appreciation, students will develop their aesthetic awareness and skills. Through interpreting the reason for creation of various masterworks and analyzing various interpretations (different versions and performances of works) they will develop musical proficiency. The essential content in this course will include aspects of each of the five overarching Fine Arts Learning Standards: Creation and Creativity 1. Aesthetics Through Critical Listening and Analysis, students will come to appreciate the different building blocks that create music. They will recognize trends throughout the history of music.
    [Show full text]
  • EXPLORING MUSIC with Bill Mcglaughlin Broadcast Schedule – Spring 2020
    EXPLORING MUSIC with Bill McGlaughlin Broadcast Schedule – Spring 2020 PROGRAM #: EXP 20-27 RELEASE: Week of April 6, 2020 Wagner's Ring Cycle For most operas, a five-hour survey would more than cover every measure, every note – but not this one, Wagner’s crowning achievement. Bill helps us understand and enjoy this long and fanciful journey, with richly textured music that continues to grow in complexity as the operas proceed. Wagner spent a quarter of a century writing the libretto and composing the music that follows the dramatic struggles of gods, heroes, and mythical creatures. We will listen to orchestral preludes, arias, and more from The Rhinegold, The Valkyrie, Siegfried, and Twilight of the Gods. PROGRAM #: EXP 20-28 RELEASE: Week of April 13, 2020 Mendelssohn, Schumann & Brahms String Quartets This week we focus on one of the most delightful and storied chapters of the string quartet's history, centering around the works of three romantic composers—Mendelssohn, Schumann, and Brahms. After 50 years of fantastic string quartets from Haydn, Mozart, Beethoven, and Schubert, the well seemed to be drying up—young composers just weren’t writing string quartets. Operas and piano pieces, yes, but not string quartets, and then to save the day steps in Mendelssohn, Schumann, and Brahms! Bill starts the week off with the double quartet (octet) from 16-year-old Felix Mendelssohn. Felix’s sister, Fanny Mendelssohn, said she felt that she was lightly carried up in the air with this string octet. PROGRAM #: EXP 20- 29 RELEASE: Week of April 20, 2020 Music from the Magic Box — An Excess of Pleasure What happens when your favorite classical music radio host tackles spring cleaning? We reap the benefits of his discoveries! Bill was digging deep into the back of his hall closet when he spied a mysterio us box.
    [Show full text]
  • Music Appreciation Mus-100 Unit 5 Study Guide
    MUSIC APPRECIATION MUS-100 UNIT 5 STUDY GUIDE 1. What was the span of time in which the Romantic era occurred? 2. Describe the melodies of the Romantic period. 3. What term was used by Romantic composers to indicate a flexible tempo that was to be determined by the performer? 4. Describe the harmonies of the Romantic era. 5. What was the most important ‘instrument’ of the Romantic period? 6. How did the Romantic orchestra compare in size to that of the Classic orchestra? 7. What is a general term for any piece of music associated with a story or extra-musical idea? 8. What controlled most of the elements in Romantic music? 9. How were dynamics employed in Romantic music? 10. What is the musical term for a short Romantic piece, lasting only a few minutes and is usually written for piano or voice? 11. Describe the use of tempo in Romantic music. 12. What is the musical term for ‘robbed time?' 13. Describe the use of form in Romantic music. 14. Instead of rigid forms, what type of music did most composers write? 15. What is the musical term for writing that invoved the use of various instruments to produce an effective and total orchestral sound? 16. How was the form of Romantic music determined? 17. What piano genre is a Polish national dance? 18. What musical era used chromaticism the most? 19. Which of the other ‘arts’ had the greatest influence on the early Romantic composers? 20. Which country produced Romantic nationalistic music? 21. Who were three early Romantic composers of piano miniatures? 22.
    [Show full text]
  • The Classical Period (1720-1815), Music: 5635.793
    DOCUMENT RESUME ED 096 203 SO 007 735 AUTHOR Pearl, Jesse; Carter, Raymond TITLE Music Listening--The Classical Period (1720-1815), Music: 5635.793. INSTITUTION Dade County Public Schools, Miami, Fla. PUB DATE 72 NOTE 42p.; An Authorized Course of Instruction for the Quinmester Program; SO 007 734-737 are related documents PS PRICE MP-$0.75 HC-$1.85 PLUS POSTAGE DESCRIPTORS *Aesthetic Education; Course Content; Course Objectives; Curriculum Guides; *Listening Habits; *Music Appreciation; *Music Education; Mucic Techniques; Opera; Secondary Grades; Teaching Techniques; *Vocal Music IDENTIFIERS Classical Period; Instrumental Music; *Quinmester Program ABSTRACT This 9-week, Quinmester course of study is designed to teach the principal types of vocal, instrumental, and operatic compositions of the classical period through listening to the styles of different composers and acquiring recognition of their works, as well as through developing fastidious listening habits. The course is intended for those interested in music history or those who have participated in the performing arts. Course objectives in listening and musicianship are listed. Course content is delineated for use by the instructor according to historical background, musical characteristics, instrumental music, 18th century opera, and contributions of the great masters of the period. Seven units are provided with suggested music for class singing. resources for student and teacher, and suggestions for assessment. (JH) US DEPARTMENT OP HEALTH EDUCATION I MIME NATIONAL INSTITUTE
    [Show full text]
  • A Multimodal Way of Experiencing and Exploring Music
    INTERDISCIPLINARY SCIENCE REVIEWS, Vol. 35 No. 2, June, 2010, 138–53 A Multimodal Way of Experiencing and Exploring Music Meinard Müller and Verena Konz Saarland University and MPI Informatik, Saarbrücken, Germany Michael Clausen, Sebastian Ewert and Christian Fremerey Department of Computer Science, Bonn University, Germany Significant digitization efforts have resulted in large multimodal music collections, which comprise music-related documents of various types and formats including text, symbolic data, audio, image, and video. The chal- lenge is to organize, understand, and search musical content in a robust, efficient, and intelligent manner. Key issues concern the development of methods for analysing, correlating, and annotating the available multimodal material, thus identifying and establishing semantic relationships across various music representations and formats. Here, one important task is referred to as music synchronization, which aims at identifying and linking semantically corresponding events present in different versions of the same underlying musical work. In this paper, we give an introduction to music synchronization and show how synchronization techniques can be integra- ted into novel user interfaces that allow music lovers and researchers to access and explore music in all its different facets thus enhancing human involvement with music and deepening music understanding. keywords Synchronization, Alignment, Multimodality, User interfaces Introduction The last years have seen increasing efforts in building up comprehensive digital music collections, which contain large amounts of textual, visual, and audio data as well as a variety of associated data representations. In particular for Western classical music, three prominent examples of digitally available types of music representations are sheet music (available as digital images), symbolic score data (e.g., in the MusicXML, LilyPond, or MIDI format), and audio recordings (e.g., given as WAV or MP3).
    [Show full text]
  • Cognitive Science and the Cultural Nature of Music
    Topics in Cognitive Science 4 (2012) 668–677 Copyright Ó 2012 Cognitive Science Society, Inc. All rights reserved. ISSN: 1756-8757 print / 1756-8765 online DOI: 10.1111/j.1756-8765.2012.01216.x Cognitive Science and the Cultural Nature of Music Ian Cross Faculty of Music, University of Cambridge Received 5 September 2010; received in revised form 8 June 2012; accepted 8 June 2012 Abstract The vast majority of experimental studies of music to date have explored music in terms of the processes involved in the perception and cognition of complex sonic patterns that can elicit emotion. This paper argues that this conception of music is at odds both with recent Western musical scholar- ship and with ethnomusicological models, and that it presents a partial and culture-specific represen- tation of what may be a generic human capacity. It argues that the cognitive sciences must actively engage with the problems of exploring music as manifested and conceived in the broad spectrum of world cultures, not only to elucidate the diversity of music in mind but also to identify potential commonalities that could illuminate the relationships between music and other domains of thought and behavior. Keywords: Music; Learning; Processing; Ethnomusicology; Culture 1. The cognitive science and neuroscience of music The study of music learning and processing seems to present a rich set of complex chal- lenges in the auditory domain, drawing on psychoacoustic, perceptual, cognitive, and neuro- scientific approaches. Music appears to manifest itself as complex and time-ordered sequences of sonic events varying in pitch, loudness, and timbre that are capable of eliciting emotion.
    [Show full text]
  • EXPLORING MUSIC with Bill Mcglaughlin Broadcast Schedule – Winter 2020
    EXPLORING MUSIC with Bill McGlaughlin Broadcast Schedule – Winter 2020 PROGRAM #: EXP 20-14 RELEASE: Week of January 6, 2020 Beethoven and the Piano Beethoven and the Piano – 200 years after the composition of Beethoven’s five Piano Concertos, they’re still the giants of the piano world. Join us for a concerto a day, plus some of his more intimate works for the instrument. Leon Fleisher, Murray Perahia, and Martha Argerich are a few of the prominent pianist that we will hear from this week. PROGRAM #: EXP 20-15 RELEASE: Week of January 13, 2020 André Previn: German born American composer, conductor, and pianist (1929-2019) By age 20, Andre Previn was successfully composing for Hollywood and playing the piano in Jazz clubs. Soon after winning one of his many Academy Awards, for “My Fair Lady”, Previn released a highly acclaimed jazz album based on the popular songs from this Oscar winning movie. In the 1960s, at the top of his jazz and film composing career, he transformed his profession to include classical music. Previn is known for his open approach to blending the musical worlds of classical, pop, film, theater, and jazz. This week we will listen to recordings from his long career with the London Symphony, hear his brilliant piano playing, his film scores, and sample an aria or two from one of his operas. PROGRAM #: EXP 20-16 RELEASE: Week of January 20, 2020 Claude Debussy Claude Debussy, who once said he learned more from poets and painters than from the music conservatory, is considered the figurehead of Impressionist music (though he would vehemently argue against it).
    [Show full text]
  • EXPLORING MUSIC with Bill Mcglaughlin Broadcast Schedule – Summer 2019
    EXPLORING MUSIC with Bill McGlaughlin Broadcast Schedule – Summer 2019 PROGRAM #: EXP 19-40 RELEASE: Week of June 24, 2019 Ports of Call, Part II This week Exploring Music continues traveling with composers around the world. Listen to them express the sounds of their native land and paint musical pictures of their travels. We will hear music of homesick George Gershwin in Paris, Charles Ives floating down the Housatonic River in the Berkshire Mountains of Massachusetts, and Ella Fitzgerald and her friends on the “A” train in New York City. PROGRAM #: EXP 19-41 RELEASE: Week of July 1, 2019 Arias and Barcarolles Taking a cue from President Eisenhower's famous remark to Leonard Bernstein, “… I like music with a theme, not all them arias and barcarolles." This week is a sampling of arias, overtures, barcarolles, and other melodic delights that deserve more time on the airwaves. Bill will spin tunes like Lawrence Welk’s “Bubbles in the Wine” and Fred Waring and his Pennsylvanians performing Jerome Kern’s “Smoke Gets in Your Eyes.” This is a week to just sit back and enjoy. PROGRAM #: EXP 19-42 RELEASE: Week of July 8, 2019 Hector Berlioz Louis-Hector Berlioz (1803-69) wrote that “Beethoven opened before me a new world of music, as Shakespeare had revealed a new universe of poetry.” Bill covers the arc of Berlioz’s life and music, from leaving medical school in Paris to attend the opera and studying at the Paris Conservatory, then being a model of the Romantic movement. This week’s fifth episode features the last two movements of Symphonie Fantastique, displaying Berlioz's gift for spectacular drama and concludes with an excerpt from his setting of “La Marseillaise,” the French national anthem.
    [Show full text]
  • Model Music Curriculum: Key Stages 1 to 3 Non-Statutory Guidance for the National Curriculum in England
    Model Music Curriculum: Key Stages 1 to 3 Non-statutory guidance for the national curriculum in England March 2021 Foreword If it hadn’t been for the classical music played before assemblies at my primary school or the years spent in school and church choirs, I doubt that the joy I experience listening to a wide variety of music would have gone much beyond my favourite songs in the UK Top 40. I would have heard the wonderful melodies of Carole King, Elton John and Lennon & McCartney, but would have missed out on the beauty of Handel, Beethoven and Bach, the dexterity of Scott Joplin, the haunting melody of Clara Schumann’s Piano Trio in G, evocations of America by Dvořák and Gershwin and the tingling mysticism of Allegri’s Miserere. The Model Music Curriculum is designed to introduce the next generation to a broad repertoire of music from the Western Classical tradition, and to the best popular music and music from around the world. This curriculum is built from the experience of schools that already teach a demanding and rich music curriculum, produced by an expert writing team led by ABRSM and informed by a panel of experts – great teachers and musicians alike – and chaired by Veronica Wadley. I would like to thank all involved in producing and contributing to this important resource. It is designed to assist rather than to prescribe, providing a benchmark to help teachers, school leaders and curriculum designers make sure every music lesson is of the highest quality. In setting out a clearly sequenced and ambitious approach to music teaching, this curriculum provides a roadmap to introduce pupils to the delights and disciplines of music, helping them to appreciate and understand the works of the musical giants of the past, while also equipping them with the technical skills and creativity to compose and perform.
    [Show full text]