Teaching a musical instrument in school

Introduction Music education is a study field that deals with training of individuals interested in music. It entails all spheres of learning including psychomotor, cognitive and the effective domain. Psychomotor domain deals with ability development while cognitive domain deals with knowledge achievement. Effective domain is the most significant and entails the positive reception of music and sensitivity.Advertising We will write a custom essay sample on Teaching a musical instrument in school specifically for you for only $16.05 $11/page Learn More The integration of music education has become common in almost all academic institutions since music has become a primary constituent of human culture. The drive towards musical achievement is of great inherent value to both the learner and the society. As an immense subject, music needs to be trained in schools in several ways (Golby 2004 p. 218). In elementary learning institutions, children are trained to use music appliances. Musical instruments taught include string instruments such as guitar and violin, woodwind instruments such as the flute, brass instruments such as the trumpet, percussion instruments such as the drum, the key board, and finally voice instruments such as the jazz. They are also taught how to perform in small singing groups and the essentials of musical sound. Even though music education in many countries has conventionally strained on western music, the contemporary learning institutions are trying to integrate the use of non-western music. Students in learning institutions are often given the chance to sing in musical ensembles. Extra music classes are also offered (Steiner Paul 2009). Music education has two distinct strands, which include general education and private instrumental tuition. This paper will determine the most effective way of teaching a musical instrument in school. It will focus on formal individual instrumental tuition and class teaching as facilitated by the ‘Wider Opportunities’ initiative . It will further examine the strengths and weaknesses of both approaches and draw evidenced conclusions. It will finally offer recommendations to improve the current delivery of instrumental tuition to enable access for all, whilst recognizing current financial and resource restraints (Green 2001 p. 128). Discussion Formal individual instrumental tuition Formal Individual instrumental tuition is an indispensable early beginning to education in music and coalesces great grounding for more prescribed lessons and immense fun. The lessons are broadly founded and comprise of teachings in rhythm, auditory skills, style, understanding, visual reading, and technological exercises.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More To achieve satisfying progress, formal individual instrumental tuition ensures that each learner embarks on ind ividual music practices nearly each day. This depends on age and knowhow of the learner. It takes place at set times of the day (Steiner Paul 2009). For learners showing a particular propensity, individual instrumental tuition by competent instrumental trainers is available as an enhancement of the formal educational syllabus. Tuition in this teaching method is usually planned between the instructor and the learner’s parents. The instrumental teacher directly owes the parents. Peripatetic staff offers individual instrumental tuition to improve musical prospects in individual instrumental tuition (Golby 2004 p. 218). Formal individual instrumental tuition involves all features of instrumental training and learning that occurs either at the learner’s residence or in school. It may involve only one learner or a very small group of learners. It is usually of specific concern to the peripatetic instructor who frequently works in segregation (Hallam1998 p. 26). Strengths an d Weaknesses of Formal individual instrumental tuition One of the strengths of formal individual instrumental tuition is that the tutors are extremely skilled. Training sessions are tailored towards personal requirements hence giving each learner the best music assistance. In formal individual instrumental tuition, students are assigned an instructor that meets their wants to the maximum. The lesson content relies on the learner’s objectives and interests. Students in this learning method have the benefit of learning for pleasure since musical exams are not compulsory (Green 2001 p. 128).However, at times learners in formal individual instrumental tuition are entitled to external assessments. All ratings and levels are gratified and this enables all music styles to be considered (Golby 2004 p. 218). In formal individual instrumental tuition, the learners are taught how to play their preferred instruments. Each learner is taught at a different speed from the other and the syll abus is made in such a way that it fits the capabilities of every learner.Advertising We will write a custom essay sample on Teaching a musical instrument in school specifically for you for only $16.05 $11/page Learn More The use of daily or weekly homework in this method is an assurance of a stable progress. Time is usually allocated for different activities such as theory learning, exercises, and instrumental training. Time is also allocated for personal practice under the control of an instructor (Steiner Paul 2009). Learners are allowed to discover diverse aspects and contexts of music personally. They become more creative and their self-appreciation and musical capacity increases. Additional attention offered by close relatives in formal individual instrumental tuition boosts the learner’s interests. Another strength of this approach is that there is profound relationship between the learner and his instructor. It is also in this kind of le arning that instructors are often examined and obtain training all through the year. This assists them to develop their skills in teaching (Hallam1998 p. 26). One of the criticisms, which have been made regarding the provision of formal individual instrumental tuition, is that it is elitist. This has been made on a number of grounds. First, the nature of tuition on offer is generally within the western classical musical tradition, although this is gradually changing. Secondly, and perhaps more important, this system is selective. Not everybody has had the opportunity to learn to play an instrument. Because provision has been limited, only those with perceived musical ability have been given the opportunity to learn. Money is an issue when it comes to individual instrumental tuition. Access to tuition is restricted to those who can pay, hence denying opportunities to poor families (Cain1989). Another criticism of formal individual instrumental tuition is that private instructors may fail to convey effectiveness and the learners’ parents end up paying vast amounts of school fees for this tuition with minimal or no-good outcome. Another issue involved in this type of teaching music is instrumental availability. The learner’s parents usually provide the instruments used. In circumstances where the school offers the learning instruments required, then the parents are held accountable for lost or fortuitously damaged instruments (Steiner Paul 2009).Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Isolation of learners may also take place depending on their status. This may slow down the learning process especially in cases where the learners come from different families in terms of wealth. Learners from rich families may have very expensive musical instruments, and this may not be possible to those from disadvantaged families. Problems of timetabling are a major drawback in this learning style. This is because there are no leaders and the tutor plans for his time. This might lead to poor time management since he is not answerable to any party (Hallam1998 p. 26). An evidenced conclusion about how this teaching method works is the Cantiana Music institution, which offers individual instrumental tuition to kids and grownups from beginner to advanced levels. The involved learners are required to have their own instruments at home so that they can always practice while away from school. Class teaching of musical instruments as facilitated by the ‘Wider Opportunities’ initiative Wider opportunities in music gives learners a chance to learn how to play a musical instrument for one academic year for free. The students are given an instrument for a whole year and given a loan of the musical instrument if they continue with learning into the second year. The lesson usually takes an hour every week. This is done by two professional musical instrument teachers and a syllabus music instructor. In the beginning lessons, the features of the instrument teaching centers on the basic technique development while the latter lessons allow students to use their skills in a band or orchestra bands which provides them with experience as they work in variety of performances. Concurrent to the instrumental development, the students are given musicianship lessons by instructors and visiting syllabus music teachers. The undertakings complement the learning progress and the scheme of performances ensure the student makes appropriate and important links with others. Th e system is made not only to reach students who are involved directly but also to improve musical partaking of the whole school (Hallam1998 p. 26). Widening participation initiative has become an integral part of the work done by all UK opera companies and musical organizations. Several stakeholders are involved in the class teaching of musical instruments as facilitated by the ‘Wider Opportunities’ initiative. The learners are the central point with the head teacher, the leader of music service, the class teacher, and the society musician being the experts who make sure that learning occurs. The head teacher evaluates how the musical teaching will harmonize the musical life of the learning institution. He makes decisions on how this initiative will associate with other school undertakings and assesses the probable responses from the learners, instructors, families and the authority. He identifies the necessary resources and this entails space, finance, and time. He als o judges how the musical instruments, genres, and techniques relate to the artistic concept of the society and the learning institution (Steiner Paul 2009). The leader of music service guides a group that aims at conveying an efficient and high-class service, which fulfills the corporate objectives of the education power. The music service establishes affiliations with learning institutions to utilize resources successfully to sustain expand and improve musical activities. The leader of this service thus sustains a strategic synopsis of what is achievable and available. He decides on how resources should be allocated and establishes procedures for effective introduction and maintenance of instrumental teaching. The class teacher has a central role in musical education. He provides support and motivation to the learners (Myers 2006). It is recommended that to build a victorious, sustainable affiliation, the roles, and accountabilities of all persons involved in this programme be wel l understood, and the objectives of Wider Opportunities Initiative be apparent. It is, therefore, critical that this programme receives total support from the institutions head since he is the one who keeps an eye on its delivery. He makes sure that the work force is aware of the effects and the benefits associated with their full participation. This method operates directly with the music service and due to this, learning institutions are after sometime able to purchase in instrumental provisions, musical instruments for their learners. This are bought based on the choice of instrument for each learner. Many academic institutions purchase this in ensembles to allow their learners to carry on learning in-group setting. For the learners to achieve actual wider opportunities knowledge, then there is need for the concerned institutions to arrange for variety of practices that will introduce the learners to the widest probable range of musical tools, customs and styles (Spruce 2002). St rengths and Weaknesses of Class teaching of musical instruments as facilitated by the ‘Wider Opportunities’ initiative The major strength of this approach of teaching musical instrument lies in its free charges. This allows the program to offer a chance to financially constrained students to show case their talents and have them molded into successful musicians. The program also offers learners with musical instruments that are very expensive and this has been another milestone in improving music in the society. This teaching method harmonizes and enhances the general music provision in the learning institution. This entails the national syllabus, extracurricular actions, and the comprehensive programme of the learning institution. It is in this method that live music performances for schools are provided. This ensures that the learners are aware of the various distinct music styles, types, and musical instruments played worldwide. Wider opportunities initiative ensures that the individual requirements of each musical learning institution are met. The existence of discussions between the music service and the institutions head assist in the establishment of the best programme that would improve the schools melodic community (Evans Philpott 2009). Another fundamental strength of this method is the association between the music service and the class tutor. The programme ensures that that classroom instructors and music professionals gain knowledge from one another by mutually organizing and delivering improved musical performances. Through this initiative, children are more sentient about the dedication needed in learning a musical tool, and are, therefore, more prone to carrying on with their musical studies after the programme year has ended. It balances and improves the music syllabus and culture of the involved learning institution and the community at large. It builds upon melodious events, customs, and capital within the learning institution. Instructors who are totally involved in the conveyance of wider opportunities have the chance to not only enhance their associations with the learners, but also develop their own talents as well as the resources they use in their work (Spruce 2002). Class teaching provides reachable ways into music education, and creates a progressive opportunity for the disadvantaged in the society. Severely unfortunate pupils have been dynamically involved in this programme. The lessons are usually entertaining and stimulating and since all students work as a team, then they are likely to acknowledge and appreciate each other’s efforts. Every learner in the class is involved in musical actions all through the programme. In circumstances where the pupils have a wide range of taster chances, then they are capable of making a more informed decision concerning their melodical futures due to guidance and encouragement from their classroom tutors and instrumental trainers (Evans Philpott 2009). This programme supports a broad array of musical styles and educational traditions. It introduces a variety of inventions, familiarity, and western classical melody. An evidence of this is samba tuition, which is founded on an acoustic tradition. It provides motivating and pleasurable experiences for the involved students. High developments both technologically and melodiously are also realized. This teaching method also improves musical knowledge for learners who are secluded by geography or lack of musical instruments (Philpott Plummeridge 2001). This teaching method offers high quality musical familiarity for the learner. The learners attain a safe foundation to learning a musical instrument hence increased progress. Books for learner practice are efficiently utilized, and proper guidance given to the learner. The learner has the right to write down the duration of time used in practicing. Some of the weaknesses facing class teaching of musical instruments as facilitated by the ‘Wider Opportunities’ initiative is the lack of parental responsiveness and understanding. The parents feel that school time being apportioned for music could have been used better if assigned to other subjects (Evans Philpott 2009). Another weakness is the fact that the range of choice in this learning method relies on and is usually constrained by what the music service can offer and manage. Some learners may not be technically fit to the available musical instrument and this limits their motivation and improvement (Claxton1996). Another weakness of this program is that some of the students may feel that the quality of it is low, though this is not the case, based on the fact that it is offered free of charge. This can be a major deterrent in cases where the student has a negative attitude toward the program. Recommendations Formal individual instrumental tuition lessons usually lay the ground for musical education. The following are the recommendations I would offe r to improve the current delivery of instrumental tuition to enable access for all, whilst recognizing current financial and resource restraint. For instrumental teaching to be better implemented, it should embrace originality, sensitivity, invention and a broad array of pedagogical approaches. According to Odam, the shared fundamental philosophies of instrumental teaching lie in the growth of an individual musical reaction in learners. This provides them with problem-solving abilities, which permit them to carry on learning and develop with optimistic self-criticism. The following example from the Suzuki method exemplifies this approach. In the Suzuki method with infantile children, a piece of material instrument is used for numerous weeks prior to using actual instruments. Elementary movements that are fundamental to the fastidious instrumental performance are developed using the form instrument. The learners listen to the sound and build up auditory memories of good practice as t hey establish psychomotor routines that will, with luck, become second nature to them (Odam, 1995). Musical education should be offered in such a way that it is closely associated to personal development and motivates emotional responsiveness and intelligence. Experienced and devoted instructors should be involved in instrumental tuition since every learner despite age, environmental setting, and position has a great prospective in growing musically. Learners who embark on instrumental tuition should be optimistic towards obtaining fulfillment and pleasure. The opportunity for all learners, whether young or aged, to learn how to play a musical instrument should be viewed as an enhancement of the value of life. This should hold as a fundamental value the self-esteem of instrumental teaching. It should mirror uniformly the broad areas of personalized instructions in all kinds of musical instruments (Spruce 2002). The techniques and practices of teaching musical instruments should be r esearched to enable learning of diverse concepts of international music making. The most current and pertinent research that could help in instrumental teaching should be explored and conferred. Recognition of the exclusive value of instrumental teaching should be upheld in both the neighborhood as well as the whole nation. People should campaign for improved governmental approval, appreciation and support in music teaching. Establishment of inventive approaches towards instrumental teaching should be encouraged. International perceptions on common matters influencing instrumental music teaching should be offered (Claxton1996). Research should be carried out in all fields of instrumental teaching including presentation and the consequence of capacity on social feelings and personal abilities. The findings should be distributed to musical education bodies both regionally and globally. The exchange of communication messages between the learner and the instructor should be facilitated. Ethical guidelines for training and learning associations between the instructor and the learner should be promoted. This results to mutual respect. The wants of the geographic location should be balanced with the instruments involved. To improve the current delivery of instrumental tuition, the music department in every learning institution should also provide a secure, caring, and demanding environment, where all learners can experience a wide and fair melodic educational experience. This experience should be in such a way that it accommodates all capabilities while simultaneously developing the learner’s individuality, skills, and concerns to the maximum. Learners should be given the opportunity to love and take pleasure in music in its broad context, participate in a wide array of performing activities and finally partake in an array of extracurricular activities related to music (Odam, 1995). Conclusion Class teaching of musical instruments as facilitated by the ‘ Wider Opportunities’ initiative is the most effective criteria in learning a musical instrument. Learning institutions using this method may wish to aim at teachers with specific strengths for future musical education sustainability. It should, however, be noted that the inclusion of professionals in the conveyance of wider opportunities is crucial. Wider opportunities initiative assist build affiliations with the music service as well as the community. It is a long lasting initiative and therefore learning institutions have to put into consideration what will ensue as the next group of learners switch to the subsequent wider opportunities next year. This ensures that this programme is maintained and learners wishing to go on with musical education have the opportunity. This may entail the establishment of a new school band as well as improved instrumental lessons (Myers 2006). This programme has further aggravated, thrilled, and enabled many young musicians to carry out musi c activities. In reality, this programme has acted as a beginning of a musical journey for learners. Sustainability is its guiding principle. Wider opportunities initiative is thus the answer to class teaching of musical instruments References Cain, M. (1989) The postman always rings twice. New York: Vintage Books Claxton, G. (1996) Liberating the learner: lessons for professional development in education. Routledge: Routledge Publishers Evans, J., Philpott, C., (2009) A Practical Guide to Teaching Music in the Secondary School. New York: Taylor Francis Golby, J. (2004) Instrumental teaching in nineteenth-century Britain. Aldershot: England Ashgate. Green, L. (2001) How popular musicians learn: a way ahead for music education  Burlington: Ashgat Hallam, S. (1998) Instrumental teaching: a practical guide to better teaching and  learning. Oxford: Heinemann Educational. Myers, K. (2006) Teaching children music in the elementary school. Englewood Cliffs: Prentice-Hall Philpott, C. , Plummeridge, C., (2001) Issues in music teaching. Routledge: Routledge Publishers Spruce, G. (2002) Teaching music in secondary schools: a reader. Routledge: Routledge Publishers Steiner, T., Paul, J., (2009) Musical futures: an approach to teaching and learning. London: Paul Hamlyn Foundation This essay on Teaching a musical instrument in school was written and submitted by user Emmitt B. to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.