La videovigilancia en el ámbito privado

Mandy Stefanakis and Amanda Watson examined the theories and influences underlying the Government Curriculum Standards Framework Arts (music) statements, first and second versions, CSF-I (1995) & CSF-II (2000), and detailed the many unfavourable reactions of teachers to these statements. Watson (1999) explored criticisms of the first CSF statement (1995), arguing against the “myth” of arts as a unified subject. For example, “creating” activities are easy to include in visual arts, but far more complex to introduce in music. The wording of the CSF-1 suggests students learn “about” the arts, rather than participating “in” the arts. The author claims it is not possible to write a document for generalist and specialists; as a default CS-1 is written for the former, which antagonises the latter. The content and assessment requirements are vague and unspecific, and have no connection with the Year 11 and 12 music curriculum.

Stefanakis (2003) argues against the primacy of the aesthetic value of music promoted by music education theorists such as Dewey (1959) and Reimer (1970). She is in favour of what she calls “aesthetic activity”, in a similar manner to “praxis” as espoused by later theorists Elliott (1995) and Swanwick (1994). Furthermore she takes issue with the emphasis on obtaining students’ “emotional response” to music in curriculum statements, as opposed to seeking a more rigorous theoretical and analytical response. These researchers proposed enhancements for future curriculum statements—none of which were followed up in the later VELS 2005 document. More recent research exploring Government school music enquiries echoes these criticisms, and continues to propose the implementation of improved discipline-

39 specific training and curriculum (Heinrich, 2012).

Table 5. The primary school arts curriculum (AusVELS) thematic summary

2.4.1 Praxis

Recent music education theory posits the central importance of students’ practical involvement (Daugherty, 1996; Elliott, 1995). Roy, Baker and Hamilton (2012) outline the following characteristics of such praxial pedagogies which:

•reflects the real world of arts practice and authentic arts processes

•occurs as a distinct human activity through all of the senses; it is fundamentally an activity that is done (in the sense of being a practical, intentional and conscious action) by learners •is situated in, and explores the arts of many cultures and their diverse forms of expression and

communication; in this sense it is both an end (as cultural understanding) and a process •involves the learner as an active arts maker and responder

•is both a means for, and the result of, a learner agency. (Roy et al., 2012, p. 19)

The tenets of the praxial approach are consistent with theories of teaching and learning proposed by theorists including Dewey, Bruner, Vgotsky, Gardner, and Sloboda.16 Praxial music education entails unity of theory and practice, with a focus on active learner participation and the combination of a structured and comprehensive curriculum, with opportunities for self-discovery. It acknowledges the importance of good teachers and parental input, as well as the learner’s own motivation, self- direction and responsibility for their learning. David Elliott (2007; 2012) proposes an

15 _{See Pritchard (2005) for an overview of prominent theories of learning.}

16_{For a comprehensive overview of the relevance of pedagogical theories of Dewey, Bruner Vgotsky,}

Gardner, and Sloboda to music education see (Kirchhubel, 2002, pp. 39-69; McKay-Brown, 1999, p. 63; Newton, 2008, pp. 45-55)

2.4 Primary school curriculum and pedagogy

Codes Themes

2.4.1 Praxis Praxial music education advocates the active involvement of students as music makers and responders. The principles of the praxial music education paradigm are echoed in general theories of learning.15 2.4.3 Foundation to Year 10 arts curriculum (AusVELS)

AusVELS does not mandate instruction in traditional music discipline skills and concept knowledge. Curriculum that includes music making—vocal or instrumental, listening to music and talking about it—will fulfil all curriculum requirements. Music may be taught as a part of a composite cross-arts subject from Foundation to Level 4. AusVELS encourages the use of technology such as touch-screen tablets and notebook computers. Teachers are free to choose music curriculum content to suit their own music and teaching skill levels and preferences.

40 extended model of praxial music education that includes political activism, social justice, and communal well-being.

2.4.2 The Australian national arts curriculum (ACARA)

In 2013 the Arts (Music) curriculum underwent a transition from a state-based to a single national curriculum covering every Australian state and territory. The curriculum being developed by the Australian Curriculum and Reporting Authority uses the acronym ACARA. A draft of the proposed national arts curriculum document—modelled very closely on VELS—was first issued in June 2012 (ACARA, 2012). Music educators and the public were invited to offer commentary and to make suggestions for changes. In response to those suggestions, ACARA issued a 2nd draft in February 2013 (ACARA, 2013).

Whereas the first draft made no mention of music terminology, the second draft sets out lists of musical concepts—for example, note values, time signature, beat, etc.— which form the music vocabulary of the infant, middle, upper primary, and secondary music curriculum. The contents of these lists share many features in common with those found in Kodaly methodology (Choksy, 1988). The wording of the content descriptions and elaborations backs away from any statement that children read rhythms or melodies; instead, students “talk about” music notation (ACARA, 2013, pp. 112-125). Since it is not yet published in a final form, further discussion of curriculum is limited to the current 2013 AusVELS document.

2.4.3 Foundation to Year 10 arts curriculum (AusVELS)

Until the ACARA national curriculum takers effect, Victorian primary music teachers must comply with the AusVELS arts curriculum statement (AusVELS, 2013). AusVELS includes eleven levels, Foundation to Year 10 (F - 10), replacing the 6 levels of its predecessor. The content for arts subjects is essentially the same as VELS (2005). In creating the Victorian arts curriculum document VELS, its authors referred to established and experimental music teaching models including the Hungarian Kodaly method, Orff (Germany), Paynter (Britain), Schafer (Canada) and The Manhattanville Music Curriculum Project (USA)!(Watson, 1999, p. 17). Music is one of 5 arts strands in the AusVELS primary arts curriculum (Foundation to Level 6), which includes Art, Dance, Drama, Music and Media. Secondary (Years 9 and 10) includes an extra strand entitled Visual Communication.

41 AusVELS provides 2 broad headings that apply to all arts strands.

1. CREATING and MAKING

The Creating and Making dimension focuses on ideas, skills, techniques, processes, performances and presentations. (AusVELS, 2013, p. 3)

2. EXPLORING and RESPONDING

The Exploring and Responding dimension focuses on context, interpreting and responding, criticism and aesthetics. It involves students analysing and developing understanding about their own and other people’s work and expressing personal and informed judgments of arts works. (AusVELS, 2013, p. 4)

Figure 1. A visual representation of the principal components of music curriculum design

The two headings correspond to broader music curriculum design, which can include all fields of study and practice of music in society (Choksy, 1980). “Creating and Making” is aligned with performing, improvising, arranging and composing, whereas “Exploring and Responding” is aligned with theoretical and analytical studies. The 2013 ACARA draft document proposes a reduction to two headings, MAKING and RESPONDING over eleven levels, from Foundation to year 10 (F - 10).

The “Creating and Making” and “Exploring and Responding” elements of the music curriculum can be further expanded to show how they embrace all areas of practice and study of music included in Choksy’s (1980) Creating curriculum in

music. CREATING & MAKING EXPLORING & RESPONDING

MUSIC CURRICULUM

1. PRACTICE

How to make music

i. PERFORMING