NOLA MusiCon’s Post

This article provides valuable insights into why many music educators are leaving the profession. Music is a crucial subject, and while I won’t delve deeply into my own experiences, it’s important to note that many outside the field underestimate the challenges we face. Music educators often interact with a large portion of the school community and deal with unique pressures and expectations, all while managing a classroom without limits on student numbers. https://lnkd.in/g8bk9PYn

This is a brief study overview that shows the dependency between the percentage of children who attend music schools and the distance to the nearest music education center. Is it the 21st century or 19/20? At Lala, we believe that music education should be accessible and not dependent on the area you live in. Let's move music education online together! https://lnkd.in/deSubz5a

Move in the right direction!

CONGRATULATIONS AND GOOD LUCK! 💙 Supporting such fabulous initiatives that promote music experiences for school leavers is not only essential but also highly beneficial. By incorporating music programs into the lives of young individuals, we can offer them a means to connect with others, manage stress, and explore their emotions in a safe and constructive way. These initiatives align perfectly with the holistic approach you are advocating for, focusing on the well-being of younger generations who may be grappling with the trauma and challenges associated with school and the transition to adulthood. The absence of music experiences can indeed contribute to feelings of isolation and stress among school leavers. Music's therapeutic effects on mental health, including fostering connection, reducing stress, and enabling self-expression, make it a valuable tool in addressing the emotional needs of young individuals. Supporting initiatives that provide access to music programs can play a vital role in promoting holistic well-being and resilience among the youth. MUSIC MUSIC MUSIC MUSIC!!!! It "IS" the antidote! 💙

Our submission to the current NSW Joint Select Committee into Arts and Music Education and Training in NSW emphasises a five-part framework for enhancing music education. We propose a guaranteed minimum of 60 minutes of music education per week for all primary students, mandated up to Stage 4, and delivered by confident and capable teachers. Our timeline aims for 50% of NSW public primary schools by 2027, 75% by 2029, and 100% by 2031. This proposal is highlighted by Music Education: Right from the Start’s Emily Albert and Dr Anita Collins in a new article by The Sydney Morning Herald, which underscores the barriers currently faced in NSW’s education system including cutbacks in music programs and classroom arts learning time. Read the article: https://lnkd.in/gBXzjZcP

How do teachers and music professionals experience different types of power, and are there situations which might have been handled differently? What is the impact of understanding and reflecting on types of power and power relations? Last week, I facilitated a wide-ranging and fascinating 3-hour session for 20 European higher music education teachers engaged on “The Artist as Teacher” one-year certificate course through the EU-funded ARTEMIS project. We explored Robert Chambers’ definitions of  types of power: power over, power to, power with, power within, power to empower. One participant remembered hearing shouting and crying in the classroom next to hers at her music school as a child (power over); another cited a successful 40-day student strike in support of maintaining free tuition for higher education in Croatia (power with); still another cited a well-known musician advising a young professional preparing for a major audition to “just be yourself” (power to empower).  Imagining different potential outcomes to difficult experiences, participants cited examples of shaming, criticism or false information given indirectly (often bypassing the person concerned), and advocated for better communication, greater transparency, empathy, and understanding.  What did the conversation change for those participating? One admitted resistance to the topic, and yet recognized his own blind spots and the need for self-reflection; another advocated for more honesty as a teacher, being able to admit what one does not know; yet another insisted on the importance of continuing to engage in such conversations, and in the importance of “networks of care.” Networks of care constitute one of the recommendations of the recently completed EU-funded PRIhME Project (Power Relations in Higher Music Education), recommendations adopted by the AEC’s General Assembly last November : https://lnkd.in/ebUrTGRZ In our second session, we will explore the notion of social safety: when do we (as artists, teachers, students) feel safe or unsafe? What do we need to feel safe? What policies exist within our institutions? And finally, what might be our teaching and learning utopia in this regard – and how might we help bring this into being?

On 20 January 2023 (nearly one year ago), the UK Government refreshed "The National Plan for Music Education", which stressed how every child in primary education should have access to inspiring music teaching at school. I love how the government makes these reports or plans that look brilliant on the surface to the general public, but exactly how many qualified and certified music teachers are there to actually deliver that education? In my experience, the only music teachers available in primary schools are either peripatetic instrumental teachers employed by either their local council or music hub, or they are hired by cover teacher schemes who don’t require music education degrees to employ these teachers. There is a disconnect in priorities here. The funding may or may not be there for purchasing all the bells and whistles they want (pun intended), but who is going to teach the kids to become music literate? Does a Year 4 student know how to read music notation from a printed score or understand the definitions of music terminology or are they able to identify the 8+ musical elements by hearing a piece of classical music? How can a general classroom teacher know how to teach this if they don't have any training? It’s so different in the USA where I earned my BA in Music Ed, k-12, and taught for 8 years before moving here to the UK, where it is unheard of to have educated, degree-holding qualified music teachers teaching music in the primary schools. Sure, they are definitely hired n the secondary schools, but where do you think those high school students learn how to read music and perform on their instruments or sing in a choir? Not in any proper programs in public schools. Only in private or boarding schools or music-specific choir schools that are affiliated with their local cathedral will you find qualified, certified, degree-holding music educators. What about the talented kids whose parents can’t afford that kind of education? They miss out, because the government doesn’t build those requirements into the education system that a specialised teacher is needed to teach a specialised subject, regardless of the resources and equipment and instruments and technology the schools may have. This whole situation is very frustrating. I hope the powers-that-be in the school authorities wake up and realise that a major overhaul is still needed. We have a long way to go in our society. https://lnkd.in/euciitsk

Music departments can make a school incredibly alluring to future students. Here's a little guide on how your schools can make prospective students sing your praises with some well-tuned music programs: https://lnkd.in/g8RiMcEU

Training and mentoring of quality, specialist music teachers is paramount.

At Sydney Youth Orchestras we know the impact an accessible and great music educational program has on not just the participants, but the community that surrounds it. Did you know that the NSW Parliament is holding an inquiry into music education in NSW? Music Education: Right from the Start project team and many of our collaborators from across education, research, advocacy and music industry sectors are already hard at work on our submissions to the Joint Select Committee on #Arts and #Music #Education and Training in #NSW. They are calling on all advocates of music education – parents, teachers, students, musicians, arts and music lovers, industry workers, and all who value creativity in our community – to consider making one, too. What the Inquiry is looking for: In a recent submission-writing session hosted by @Nexus Arts at Western Sydney University, Committee Members Julia Finn MP and Emily Suvaal MP offered some advice on what they may be interested to hear, and structuring submissions: #Students’ and #parents’ voices! #Personal anecdotes and stories on #how #important #music #education #is, including from students, teachers and principals, highlighting the power of music education in the community, and how it makes a difference First-hand experience from current and long-time #teachers who can speak to what it was like in the past to deliver #music and #arts #education vs. now Testimonials, while concrete evidence is also valuable Any recommendations, including lessons from interstate Submissions can take any form, including reports, first-hand accounts, personal stories. Ideally aim for between 1-4 pages Organisations should describe their particular experiences, and organisations might include an executive summary, whereas individuals would describe personal experience and context Join #SYO in amplifying your voice, further details on submissions can be found in the link below.