UPSI Digital Repository (UDRep)
|
UPSI Digital Repository (UDRep)
|
|
|
|
||||||||||||||||||||||||||
| Abstract : Perpustakaan Tuanku Bainun |
| As we enter the _Age of Intelligence_ (Buzon, 2011) the focus of Malaysia and other developing nations has turned to the value of human capital and its ability to produce creative, independent leaders as a primary investment for future growth. Creativity is nothing new to music educators: music has continually been a creative learning and teaching tool; employing methods and approaches that have been transferred from parent to child, sage to novice and teacher to student and which develops aural, visual, physical, kinaesthetic and written communication skills. Music education can provide teaching and learning examples to develop these previously underestimated soft skills which are now in high demand. Notwithstanding, both Australia and Malaysia have identified music education in schools (Classroom and instrumental) as an area in dire need of improvement and programs of curricula improvements have begun. Gwatkin (2008) identified the need for consistency of government policy, teacher training within disciplines and an increase in creative approaches. Outcomes of a large scale national and international empirical study discerned that both classroom and instrumental (piano) teachers valued the input of creative programs and would like more training in this area. Results of a trial program that focused on creative philosophies for prospective classroom teachers at undergraduate level demonstrated that students were inspired and would have liked more in their overall course of study. More recent applications of creative philosophies for Malaysian music undergraduates have also been rewarding. Recommendations of the study included design templates for future courses for music educators to include creative practices with global implications for all teachers and the institutions that serve them. Together with new government paradigm for education that underlines the necessity for creativity, these results demonstrate such approaches are warranted and are applicable to all disciplines.
Key words: Creativity; teacher training; music education; education policy |
| References |
Australian National Training Authority. (2005). AQTF Overview booklet. ANTA.
Australian Qualifications Framework. (2002). AQF Implementation Handbook. (3rd ed.). Carlton, South, Victoria: AQF Advisory Board.
Bencriscutto, F. (1985a). Develop Creative Musicians. Instrumentalist, 39, 22-23.
Bennett, D. (2005). Classical instrumental musicians: Educating for sustainable professional practice. Unpublished doctoral dissertation, University of Western Australia, Perth.
Bloom, B.S. (Ed.). (1985). Developing Talent in Young People. New York: Ballantine.
Bowes, P. (2010). Malaysian Creative Children. Lecture: UNESCO- NIE Centre for Arts Research in Education 15th September, Singapore.
Buzon, T. (2011). Challenges in Education. Lecture at Universiti Pendidikan Sultan Idris, 17th March.
Centre for Advancement of Teaching and Learning. (2006). Evaluation of teaching Unit M400. Student Perceptions of Teaching, Jan Gwatkin. Introduction to Primary Music Teaching 3611. Perth: University of Western Australia
Chapman, K. (2009, June 28). Measuring up to new standards. The Star Online. Retrieved June 1, 2011 from http://thestar.com.my/education/story.asp?file+?2009/6/28/education/4201502& sec=education.
Chellor, J. (2007). Music Education in Malaysia. Retrieved March 15 2010 from http:/ http//:joechelliah.blogspot.com/2007/01/music-education-in-malaysia.html
Clausen, M. (2010).Critics expected but arts overhaul is a positive step. The Australian. August 30, 2010
Commonwealth of Australia. (2009). CUS09, Provide Instrumental and Vocal Tuition, p. 295
Crabbe, S. (2007). Australian Education at Crossroads. The Australian. Retrieved 8th April 2011from http:/ Suite 101.com
Crabbe, S. (2008). Australia's National Curriculum. Rudd’s Revolution in Education Begins. Retrieved 8th April 2011from http:/ Suite 101.com
Crabbe, S. (2007). Music Education – for All Schools?Australian Government Support Is the Key to Effective Music Teaching . The Australian. Retrieved 8th April 2011from http:/ Suite 101.com
Crabbe, S. (2008). New Framework for Music Education. Music in Australian Schools Needs Curriculum, Resources and Time. Retrieved 8th April 2011from http:/ Suite 101.com
Craft, A.Gardner,Claxton, G. ( 2008). Creativity, Wisdom and Trusteeship. Exploring the Role of Education. CA: Corwin Press.
Cremin, T. (2006). Creativity, uncertainty and discomfort: Teachers as writers. Cambridge Journal of Education, 36(3), 415-433.
De Bono, E. (1995). Serious Creativity. NY: Harper Collins
Duke, R.A. (2000). Measures of instructional effectiveness in music research. Bulletin of the Council for Research in Music Education, 143, 1-48. In Lehmann A.C. Sloboda, J.A., & Woody, R.H. (2007). Psychology for Musicians. The Teacher, 185-204. New York: Oxford University Press.
Education Development Plan 2006-2010. (2006). Putrajaya: Teacher Education Division.
Eysenck, H.J. (1952). The Scientific Study of Personality. London: Routledge and Keegan Paul.
Frazee, J. (1987). Discovering Orff. New York: Schott.
Goh, PSC (2011). The Malaysian Teacher Standards: A look at the challenges and implications for teacher educators. Springer Science and Business Media BV 2011.
Gordon, E. (1997). Learning Sequences in Music: Skill, Content, and Patterns. Chicago: GIA.
Gordon, E. (2006). Music Learning Theory: Resolutions and Beyond. Chicago: GIA Publications
Gwatkin, J. (2007). Student Engagement: An experiential, creative, collaborative approach to Primary School music teaching. Proceedings of Teaching and Learning Forum, UWA. Perth, January 2007. http://lsn.curtin.edu.au/tlf/tlf2007/refereed/gwatkin.html
Gwatkin, J. (2008). Investigating the viability of a National Accreditation System for Australian piano teachers. Unpublished doctoral dissertation, University of Western Australia, Perth. http://adt.caul.edu.au.
Hargreaves, D.J. (1986). The Developmental psychology of music. Cambridge: University Press.
Howieson J. & Ford, W. (2007). Teaching and learning skills: Increasing a sense of law school belongingness. Proceedings of Teaching and Learning Forum, UWA. Perth, January 2007. http://lsn.curtin.edu.au/tlf/tlf2007/refereed/gwatkin.html
Jensen, E. (2000). Music with the Brain in Mind. San Diego: The Brain Store Inc. Law of Malaysia. (2006). Act 550 Education Act 1996. Retrieved June 1, 2011 from http://www.agc.gov.my/Akta/Vol.%2011/Act%20550.pdf
Lin, Tan Sri See-Yan, (2010). Creativity - the key to NEM’s success: What are we to do? The Star online. Sat August 14 2010.
MacGibbon, A. (2010). Visual arts are often left behind, to the detriment of education. Retrieved 9/4/2011 fromhttp://www.smh.com.au/national/education/we-need-tolook- at-the-bigger-picture-20100606-xn8i.html
McMillan, J. (2011). Integrating Aural Training into Studio Piano Lessons: Perspectives from Australia. Spoken paper at 5th Singapore International Piano Pedagogy Symposium (June 20-24, 2011)
Malaysia first in region to adopt benchmark for eductors. (2009, December 3). The Star online in Goh (2011) The Malaysian Teacher Standards: a look at the challenges and implications for teacher educators. Springer Science and Business Media BV 2011.
Maslow, A.H. (1970). Motivation and personality. New York: Harper and Row.
Mednick, S.A. (1962).The Associative Basis of the Creative Process. Psychological Review, 60, 220-232
Michalski, Y.E. (2008). Skills and Behaviours important for effective piano teaching: A survey of the piano pedagogy components of current undergraduate music degrees in Australian tertiary institutions. Unpublished doctoral dissertation. University of Queensland, Brisbane.
Music Council of Australia. (2007). Find a Teacher. Advice on Searching for a Music Teacher. Retrieved December 11, 2007 from http://www.mca.org.au.
Nilsson. (2003). I can always make another one!- Young Musicians creating music with digital tools. In S. Leong (Ed.), Musicianship in the 21st Century: Issues Trends and Possibilities. (pp. 204-218). NSW: Australian Music Centre.
Pascoe, R., Leong, S., MacCallum, J., Mackinlay, E., Marsh, K., Smith, B., Church, T., Winterton, A. (2005). National music review of school music education: Augmenting the diminished. Retrieved August 12, 2007 from http://www.dest.gov.au/sectors/school_education/publications_resources/profile s/school_music_education.html
Piaget, J. (1950). The Psychology of intelligence. London: Routledge & Kegan Paul Ltd.
Radocy, R.E. & Boyle, J.D. (1979). Psychological Foundations of Musical Behaviour. Illinois: Charles C Thomas.
Rogers, C. (1951). Client-centred therapy. Boston:Houghton-Mifflin.
Southwest Educational Development Library. (2008). Classroom compass. Retrieved May 22, from http://www.sedl.org/scimath/compass/v01n03/understand.html
SPSS®. (2003). 12.0 Brief Guide. Chicago: SPSS Inc.
Strong, M. (2010). In MacGibbon, A. (2010). Visual arts are often left behind, to the detriment of education. Retrieved 9/4/2011 fromhttp://www.smh.com.au/national/education/we-need-to-look-at-the-biggerpicture- 20100606-xn8i.html
Tan, J. (2011). Piano Graded Examinations, Friend or Foe: The Relevance to Piano Teachers in Singapore in the 21st Century. Spoken paper at 5th Singapore International Piano Pedagogy Symposium (June 20-24, 2011).
Torrance, H. (1962). Guiding Creative Talent. Englewood Cliffs, NJ: Prentice Hall.
Torrance, H. (1974). Torrance Tests of Creative Thinking. Lexington, MA: Ginn and Company.
Thomas, K. (2010). In MacGibbon, A. (2010). Visual arts are often left behind, to the detriment of education. Retrieved 9/4/2011 fromhttp://www.smh.com.au/national/education/we-need-to-look-at-the-biggerpicture- 20100606-xn8i.html
Watson, J. (1930). Behaviourism. NY:Norton. |
| This material may be protected under Copyright Act which governs the making of photocopies or reproductions of copyrighted materials. You may use the digitized material for private study, scholarship, or research. |