The Victorian music workshop report (VMWR) fine the development of partnerships between schools and community groups can be beneficial to music education and the students interest in music (School Music Action Group, 2007). Partnerships are becoming a vital area of music education; schools and teachers should consider partnerships with community and state organisations as a very beneficial connection to greater their music education for all students. Music is a very diverse area and it is difficult for schools to educate or provide opportunity for all music experiences (School Music Action Group, 2007).
Myer found a effective partnership requires shared efforts among partners and organisations, to ensure all mutual concerns and interests are addressed by using all commitments, resources and expertise of the partners and organisations to increase all opportunities not gained by working alone (cited in Robinson, 1998). As working in partnerships can gain many opportunities not previously thought of before for both parties and students, it can generally not happen as many schools and music teachers do not understand the benefits of a partnerships, how to develop and find partnerships, and are not sure what is expected through a partnership (School Music Action Group, 2007). With teacher and schools not how to go about creating partnerships, it is difficult for them to see the benefits for themselves, other party and students, which then can be a barrier partnership development in music education.
Schools should consider working with community music organisations, local choirs, as well as professional music organisations such as the Melbourne Symphony Orchestra, and Orchestra Victoria by developing these partnerships schools are able create interest in music amongst their students (School Music Action Group, 2007 & Sinsabaugh, 2006). By developing partnerships, schools are introducing students to a wide range of opportunities and different forms of music that they would not have normally been exposed to in education. With students being exposed to greater music they are able aspire to find careers in music, as well as generating awareness of different forms or music, areas in the music industry and different opportunities to available to them to pursue their dreams in the music world. These opportunities show the real power of partnerships formed with schools and music organisations, which lies within new ways that the practices of music learning and teaching is being transformed (Robinson, 1998).
Music education partnerships not only provide opportunities for students to winder their music exposure, however partnerships can also have the purpose of developing professional development opportunities for music teachers (Robbins & Stein, 2005 & Conkling, 2004). Professional development is an important aspect of teaching and with music education partnerships this can be more possible. Partnerships are intellectually beneficial for teachers and students, though can be also beneficial for schools financially. By increasing funds for both schools and organisations, as with grants being able to develop the music department in schools, and with schools not being able to provide all programs organisations can financially benefit by creating a greater customer income. If students are unable to access their chosen music program at school, they may be able to find their chosen program with the organisation partnered with the school generating a positive outcome for the school, music teacher, music education and the partner organisation.
Partnerships within Music Education can be seen as very beneficial for all parties. They increase opportunities for students and teachers, whilst also ensuring students are meeting the curriculum and beyond. Partnerships also increase opportunities for careers and funds. These are all major benefits for schools, teachers, students and community and state music organisations. To ensure schools are able to increase and create these benefits teachers and schools need to be educated and shown why and how to create partnerships with outside music organisations.
Conkling, S. W. (2004). Music Teacher Practice and Identity in Professional Development Partnerships. Action, Criticism & Theory For Music Education, 3(3), 1-15.
Robinson, M. (1998). A Collaboration Model for School and Community Music Education. Arts Education Policy Review, 100(2), 32. Retrieved from http:// search.proquest.com/docview/821019623?accountid=8194
Sinsabaugh, K. (2006). Music Partnerships— The Face of Music in Modern Education. Teaching Artist Journal, 4(3), 176-181. doi:10.1207/s1541180xtaj0403_5
Robbins, J., & Stein, R. (2005). What Partnerships Must We Create, Build, or Reenergize in K-12 Higher and Professional Education for Music Teacher Education in the Future?. Journal Of Music Teacher Education, 14(2), 22-29. Retrieved from http://search.proquest.com/docview/1504589?accountid=8194
School Music Action Group. (2007). Victorian music workshop report. Australia: School Music Action Group
I certainly agree that incorporating partnerships between school and community groups will help improve musical education at schools. Watching an expert play an instrument or sing could inspire children to take a greater interest in music, or improve their existing musical skills. Modelling is a key aspect of Vygotsky’s zone of proximal development theory. Vygotsky (as cited in Ohta, 2005, p. 505.) believed a learner would be capable of greater understanding when assisted by a more capable adult or peer. If schools utilised a partnership approach to education, musicians could model their skills to the students, which the students could learn from in accordance to Vygotsky’s theories.
A concern for musical programs in schools is that instructors often have low-level skills and no teacher training (School Music Action Group, 2013, p. 13). Partnerships would not need the community group to have extensive teacher training, because the school will have a music teacher. I believe this is why partnerships can have so many of the benefits you outlined, because both parties can provide something different.
Ohta, A., (2005). Interlanguage pragmatics in the zone of proximal development. System: An International Journal of Educational Technology and Applied Linguistics, 33 (3), pp. 503-517. DOI: 10.1016/j.system.2005.06.001
School Music Action Group. (2013). Submission to the Inquiry into the Extent, Benefits and Potential of Music Education in Victorian Schools. Retrieved from http://www.parliament.vic.gov.au/images/stories/committees/etc/submissions/Music_Ed_Inquiry/195_School_Music_Action_Group_16022013.pdf
The partnership of schools with community music groups and others in the music industry is certainly one that stands to provide many various benefits to music education in the schools. Not only will the students be entertained, but they will be enriched and engaged with the content they may be viewing or receiving. The ideas listed above by Emily, such as attending orchestra performances are excellent, and can definitely be expanded on with many other forms of music.
Dreeszen, Aprill and Deasy (1999) have said that partnerships with the arts community can lead to benefits to in the music education program, quality of learning for the students and lead to improvements with the other organisations involved. By experiencing a wide range or arts and music performances and lessons, both the students and teachers will be more likely to engage in music in their own life and perhaps become inspired to become further involved. If a teacher is to become more engaged they may even create more opportunities for music in their classroom, which will enrich the music experiences of the students and may lead to a greater provision of classroom music in the school.
Dreeszen, C., Aprill, A. & Deasy, R. (1999). Learning partnerships: improving learning in schools with arts partners in the community.
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