GESTION DEL RIESGO DE LIQUIDEZ

Recording takes place "when observers, readers or analysts interpret what they see, read or find and then state their experiences in the formal terms of the analysis" (Krippendorff, 2013, p. 127). With the categories decided, the Musical Futures document required further analysis to interpret the data in terms of the categories selected. This was achieved according to the following steps:

Summary of Recording Process

1. Text phrases representing key aims were collected from the Musical Futures document and are listed below:

• Engage all students in making music, ensuring individual learning needs are met.

• Make music learning relevant to young people. Make use of aural/oral learning over technique and written instruction.

• Teachers act as facilitators; they should ‘play rather than explain’.

Use an informal approach to teaching and learning in the classroom (D’Amore, 2009, p. 9).

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2. Text phrases representing key aims were collected from the NSW Music Syllabus Stage 4 and are listed below:

• Provide students with the opportunity to build their musical knowledge. • Develop student understanding and skills in formal and informal musical

settings.

• Encourage student involvement in performing, composing and listening. • Enhance “the understanding and manipulation of the concepts of music in

differing musical contexts” (Board of Studies NSW, 2003, p.8). • Set clear standards of what students are expected to know. • Provide structures and processes for continuity of study.

3. The next step involved organising the Musical Futures document into manageable sections. Musical Futures has 11 set ‘Projects’ identified by chapter headings in the text. Each Project was divided physically on the document into a series of student activities based on one focused learning outcome as shown in Figure 3.4.

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Figure 3.4 Division of Musical Futures Projects into Activities.

4. Tasks within each activity were identified and recorded by a short text phrase. For example, in Project 1 Activity 1 tasks identified were ‘steady beat’, ‘clap a made up rhythm’, ‘cue entries and exits,’ ‘alternate steady beat and rhythm,’ ‘full class participation’ and ‘alternate small groups’.

5. Each task was then placed under the category from the NSW Music Syllabus Stage 4 that the phrase most closely represented. For example, steady beat, clap a

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made up rhythm, and alternate steady beat and rhythm, were all allocated under Duration (the main Concept of Music represented by these tasks). The other text phrases related to the learning experience of performing and these were allocated under the following sub-categories; full class participation (Performing), alternate small groups (Ensemble), clapping (Instrumental) and cue entries and exits (Directing). This information was transferred onto the master spread sheet, an example of which can be viewed in Appendix C.

6. On a separate spread sheet, the selected text phrases were replaced by a number representing the total number of occurrences of each text phrase within each category. For example, in Project 1, Activity 1 the text phrases collected for duration totalled 3, for performing 1 only, for ensemble playing 1 only, for using an instrument 1 only and for student directing 1 only. Altogether in Project 1 there were 13 activities identified. When all the activities in Project 1 were totalled, 16 tasks represented duration, 6 represented pitch, and 2 represented dynamics. An example of this can be viewed in Appendix D. This process was continued for all 11 projects and 44 activities, resulting in the allocation of 365 Musical Futures tasks to the categories selected from the NSW Music Syllabus Stage 4.

7. The next step involved taking the collected text phrases from the Musical Futures document and allocating them according to a different set of criteria. During this step, the data was allocated according to detailed content requirements listed in the NSW Music Syllabus Stage 4 document. This process provided an additional layer of analysis that could show the extent to which Musical Futures could meet NSW Music Syllabus Stage 4 requirements. For example, ‘Steady Beat’ demonstrated the NSW Music Syllabus Stage 4 requirement for Tempo (unchanging); ‘clap a made up rhythm’ demonstrated the use of Metric Groupings (simple quadruple). The table in Appendix E demonstrates this step for the Concept of Music: Duration.

8. The text phrases from the Musical Futures document allocated to the detailed content requirements of the NSW Music Syllabus Stage 4 were then counted. Table 3.3 lists the NSW Music Syllabus Stage 4 specific content for Duration, with the total number of tasks matching those sampling requirements from the Musical

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Futures document listed in the second column. This step was undertaken to record the number and spread of Musical Futures tasks meeting the specific NSW Music Syllabus Stage 4 requirments.

Table 3.3

NSW Music Syllabus Stage 4 Requirements for Duration and the Number of Musical Futures Tasks Recorded

NSW Music Syllabus Stage 4 - Duration Number of MF Tasks

1. Steady beat different tempi 12

2. Changing beat various tempi 0

3. Duple, triple, quadruple time signatures 17 - 4/4; 0 - 2/4, 3/4

4. Metric groups of two & three notes in simple and compound time

- 17 notes and rests (2003, p. 26) - Compound and simple times

0 Traditional notating tasks

11of 17 notes or rests present, all experienced during performance tasks 5 - 12/8,

0 - 6/8 or 9/8

5. Rhythmic Devices syncopation, ostinato 2

9. In step 9, data was recorded about musical context by examining the music used for each project in the Musical Futures document to provide the information about the range of musical contexts experienced by students following the Musical Futures approach.

10. The information recorded in steps 1-9 underwent a sorting process. This was recorded by ‘like’ text phrases being grouped together, providing a means to examine patterns and identify emerging themes. This step recorded data in a form capable of providing another layer of analysis to be undertaken.

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These 10 steps describe the recording process used to collect and organise the data from the two key documents and selected to answer the research question.