Learning about what constitutes effective training from a pilot programme to improve music education in primary schools

The new primary strategy in England raised the profile of foundation subjects, including music, yet many primary school teachers lack skills and confidence in their ability to teach music. This research explores a year-long programme of training across 16 primary schools in England that sought to improve music education. The programme involved whole school in-service training, advisory teachers offering support within the classroom and further training for music co-ordinators. The implementation of the programme, the training received, lesson observations throughout the programme, difficulties arising and the longer term benefits were explored through questionnaires, interviews and school visits with participant teachers, and senior managers in the Local Authorities and schools. The findings indicated that the programme had been effective in improving teacher confidence, and musical understanding, and the quality of teaching. Factors contributing to the success of the programme were identified and lessons for the development and implementation of future programmes

The National Singing Programme for primary schools in England: an initial baseline study

The ‘Sing Up’ National Singing Programme for Primary schools in England was launched in November 2007 under the UK Government’s ‘Music Manifesto’. ‘Sing Up’ is a four-year programme whose overall aim is to raise the status of singing and increase opportunities for children throughout the country to enjoy singing as part of their everyday lives, in and out of school. As part of the Programme’s research evaluation, a key focus has been to build an initial picture of singing in Primary schools across England. This information could then be used as a ‘baseline’ by which the programme’s subsequent impact could be judged, including ‘before’ and ‘after’ measures of schools that receive particular ‘Sing Up’ input. This paper reports an overview of key outcomes of first five months of baseline profiling (October, 2007 to February 2008), embracing analyses of the singing behaviours of 3,472 children in 76 Primary schools. These findings are complimented by additional analyses of children’s views on singing in and out of school; and the self-efficacy of their class teachers’ (n=90), both as singers and as teachers of singing

O canto como comunicação interpessoal e intrapessoal

A vocalização humana apresenta pontos chave do nosso desenvolvimento musical e é ela que promove nossas primeiras manifestações de habilidades para podermos nos comunicar musicalmente. As melodias da fala constituem os primeiros elementos linguísticos a serem vivenciados e dominados, e são precursores indistinguíveis do canto melódico, posto que são elementos essenciais na comunicação musical intrapessoal e interpessoal. O canto como forma de comunicação tem origem nos contornos melódicos vocais, cujos intervalos musicais são explorados na fala dirigida do adulto1 (pais, responsáveis ou cuidadores) 2 ao bebê3 (lactente ou criança) para promover o desenvolvimento da linguagem. Características semelhantes, porém, mais explícitas, são evidenciadas no canto dirigido do adulto ao bebê através de canções de ninar e de canções de brincar. Esses elementos musicais básicos da comunicação podem ser percebidos ainda no útero e formam as bases para as vocalizações e comportamentos musicais subsequentes do bebê. Além disso, a integração fundamental da emoção com a percepção e a cognição dá origem a uma rede de comportamentos vocais e emocionais interligados que são centrais para a comunicação humana. O capítulo investigará a crescente evidência da comunicação musical  como parte integral da vocalização humana e da expressão emocional

O canto como comunicação interpessoal e intrapessoal

A vocalização humana apresenta pontos chave do nosso desenvolvimento musical e é ela que promove nossas primeiras manifestações de habilidades para podermos nos comunicar musicalmente. As melodias da fala constituem os primeiros elementos linguísticos a serem vivenciados e dominados, e são precursores indistinguíveis do canto melódico, posto que são elementos essenciais na comunicação musical intrapessoal e interpessoal. O canto como forma de comunicação tem origem nos contornos melódicos vocais, cujos intervalos musicais são explorados na fala dirigida do adulto1 (pais, responsáveis ou cuidadores)2 ao bebê3 (lactente ou criança) para promover o desenvolvimento da linguagem. Características semelhantes, porém, mais explícitas, são evidenciadas no canto dirigido do adulto ao bebê através de canções de ninar e de canções de brincar. Esses elementos musicais básicos da comunicação podem ser percebidos ainda no útero e formam as bases para as vocalizações e comportamentos musicais subsequentes do bebê. Além disso, a integração fundamental da emoção com a percepção e a cognição dá origem a uma rede de comportamentos vocais e emocionais interligados que são centrais para a comunicação humana. O capítulo investigará a crescente evidência da comunicação musical como parte integral da vocalização humana e da expressão emocional

Music in a hospital setting: a multifaceted experience

The article offers an explanation of the effects of music on children within a hospital setting and points up the multifaceted nature of this experience. The nature of the client group allows the musical experience to work on many different levels, such as modifying the child\u27s perception of pain and reducing stress, whilst at the same time having an integral educational element that supports musical development. The evidence base is drawn from an extensive review of the music/medicine literature, interfaced with the first author\u27s experience over many years as a participant musician in a paediatric oncology ward

Music in a hospital: The impact of a live music program on pediatric patients and their caregivers

This research looks at the impact of live music on children and their caregivers in a pediatric hospital in Italy. Observations were carried out over a period of 4 weeks involving 162 children and 146 caregivers. In addition, interviews were conducted with 14 children and 22 caregivers. Subsequently, thematic analysis and content analysis were performed on 4 modes of data (observations, videos, interviews, field notes) with the support of Atlas.ti software. Results suggest that, in this context, there is evidence of the musical intervention helping the children and their families to focus their attention on something that is external to the illness. Through the familiarity of the repertoire, children’s perceptions of the hospital environment turns into something more familiar and less threatening. Consequently, the music constitutes for children and their family a psychosocial space where they can interact without the anxiety and stress elicited by diagnosis-feared perception as well as illness

Professional identities and motivations of musicians playing in healthcare settings: cross-cultural evidence from UK and Italy

The role of professional musicians playing in healthcare settings is largely non-documented, chiefly because musicians have worked on a voluntary basis or outside established music programmes. However, research in arts and health suggest that these musicians have acquired a level of expertise and that they have consequently developed a professional identity related to their work. Semi-structured interviews were conducted with two groups of musicians performing in healthcare settings in UK (N = 8) and Italy (N = 9) to investigate their motivations and perceived musical and interpersonal skills developed in their work. Interview data suggest that such musicians are highly motivated, wanting to perform in a variety of healthcare settings, often for strongly moral reasons, occasionally because of religious reasons. Musicians were conscious of the fact that any positive outcome of their performance was unlikely without possessing specific skills in social interaction, entailing empathy, appreciation, openness, flexibility of response and a sense of humour. The results are discussed in the light of the literature on professionalism and professional identity in healthcare settings