Investigating Australian Music Curriculum: Content and Pedagogies

This essay delves into the Australian music curriculum, specifically focusing on its content and the pedagogies employed in junior secondary music education. It begins with an introduction to the significance of music education and its role in a rapidly evolving world, emphasizing the importance of creative handling of situations. The essay reviews the Australian music curriculum for years 7-10, examining the content descriptions and discussing the overarching aims. It explores how music education is planned and influenced by various factors, including cultural contexts and teacher availability. The curriculum's focus on developing listening, composing, and understanding of musical elements like pitch, dynamics, and rhythm is highlighted. The essay also examines the development of aural skills, engagement with diverse music from various cultures and times, and the importance of incorporating new technologies in the classroom. Contrasting teaching philosophies and pedagogies, particularly the promotion of inclusive learning environments and the development of creative abilities, are discussed. The essay references several key sources to support its arguments and concludes with the need for a national curriculum and the importance of engaging parents and indigenous communities in music education.

Running Head: ENGLISH 1
Australian Curriculum of Music
Name of student
Name of University

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Introduction
With the world well into the 21st century and the science and technology advancing at a
rapid pace and expanding knowledge, there is no denying that humankind is undergoing and
experiences some far-reaching influences. Even within the dynamically changing environment
and ever-increasing information, situations need to be handled creatively to meet future
challenges. This is where music education and curricula steps in and contributes significantly to
the intellectual and aesthetical pursuits of human beings. The paper refers to the Australian
music curriculum and the significance of music education as an aural art form and discusses the
overarching aims of the Australian music curriculum in years 7-10.
A Review - Evaluation of the content description and discussion
Music education and Curriculum are planned in different ways around the world and are
influenced by the music role in the culture, availability of music teachers, and other factors. How
music education is practiced gets impacted by other factors like cultural transplanting, common
religious practices, geographical proximity, immigration, and more (Groulx, 2013). The content,
concepts, and structures of the Australian music curriculum for 7-10 years students focus on
texturing their listening and composing and gain a better comprehension of the pitch, dynamics,
rhythm, and expression in music (ACARA, 2020). The learners are expected to gain a better
understanding of music made for different audiences and understand the role of melodic and
harmonic patterns. They gain knowledge about the influences of indigenous populations and
different cultures on music and the various techniques and contemporary styles of music that
have developed over time. When they participate in any performance, they learn about the
correct posture and the right techniques of holding and using instruments (ACARA, 2020).

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As they advance and progress to higher age and experiences, they continue to develop
their aural skills and enhance their understanding of more complex rhythms and pitch and learn
between different instruments and vocal techniques (ACARA, 2020). They engage with more
diverse music from a range of cultures and times and explore various traditional and
contemporary styles of music. They add to their understanding of previous bands and musicians
with more diverse music.
According to Krause & Davidson (2018), musical success is defined by fine musical
ability and instrumental mastery. Musical engagement is known to benefits the students in other
curriculum performance and their socio-emotional well-being. According to the Kodály
philosophy of music education, music belongs to everyone, and it is the right of every individual
to learn the basic elements of music. The early preparation of children with music and melody
works as nourishment as it helps to develop concentration and the ability to condition oneself
(Micheal & Tacka, 2015). The basic components of the lesson plans for music education in the
classroom should cover the knowledge of musical concepts and preparation of a melodic
element. The children should feel confident about the performance of musical skills, develop the
singing ability as they acquire music literacy skills. The students should gain an understanding of
basic melodic building blocks as they get creative with new musical elements (Micheal & Tacka,
2015).
The Australian music education systems share a similar philosophy with the British
educational practice and are used to raise the cultural level of the uneducated. The vocal music
was introduced into some Australian schools in the nineteenth century. The Australian Society
for Music Education (ASME) was first set up in 1967 (Groulx, 2013). It is difficult to generalize
the education in Australia as the decision-making practices can vary from state to state. There

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can be developed a national curriculum outline for a clearer and precise education in music.
Australia does not carry a national school system, and the responsibility for schooling is left to
state and territory governments (Crawford, 2009).
Australian music curriculum expresses the belief in the abstract nature of music and
encourages the students to be creative, thoughtful, and skillful to become well-informed
musicians. They get aware of the various elements of music, such as form and structure,
dynamics and expression, timbre and texture, rhythm, and pitch (ACARA, 2020). Australian
music education is seen to promote multicultural understanding with thorough efforts, and it
covers diverse musical forms beyond the country as well as the musical traditions of its
indigenous Aboriginal populations. Why Australia carries a strong multicultural approach to
music could be because of its unique location as it is looked upon as a Western-based culture that
is placed in the Far East, as asserted by Groulx (2013).
Popular music education is encouraged in Australian schooling and classrooms, and
there is more emphasis on teaching and learn popular music in the country when compared to the
United States (Mantie, 2013). With the Information and Communications Technology changing
the way students are assessing and sharing information, it is essential to understand the impact of
digital technology in the music classrooms (Crawford, 2009). This, it becomes necessary to
incorporate new technologies into the classroom and get the benefits of education technology to
improve the quality of music teaching and learning. Authentic music learning should become a
part of everyday life and foster experiential learning in the music classroom. The students can
gain vocational experience via music technology and can enjoy professional music practice
(Crawford, 2009).

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According to Dunbar-Hall (2002), the Australian music curriculum is not isolated from
the literature on Australian education and often lead to pedagogic problems that need to be
addressed. Aboriginal and Torres Strait Islander (ATSI) communities can be encouraged to get
involved in the teaching of ATSI music. The parents and members within Aboriginal
communities and Torres Strait Islanders should be encouraged to develop and deliver the courses
in the teaching of ATSI music and dance. Pre-service training of the indigenous personnel can
influence the students positively. A survey shows that a lack of trained ATSI music teachers
leads to the inability to include ATSI music in the Australian music curriculum (Dunbar-Hall,
2002).
The objective of music education is not just to develop performing or composing skills
but also to enhance the comprehension of culture and humanity that adds to the values of
education in music (Dunbar-Hall, 2002). The music curriculum and education for the twenty-
first-century attempt to develop the art form as well as the social and cultural contexts of young
Australians. The students develop the skills to engage in music, compose, and perform so as to
display their level of understanding of musical elements, styles, and technologies. Students are
encouraged to respond critically to musical ideas and works of each other and communicate their
understandings through performances and composing. As composers create and shape musical
ideas, and as performers, they demonstrate knowledge of their vocal and instrumental expertise.
Surveys show that many schools do not have a specialist and experienced music teacher,
Australian schools, and music education need to be supported to effectively with a quality
curriculum and aligned teaching resources. Significant improvements can be attempted if the
country develops a national curriculum for music. The schools and education authorities should
engage parents to understand the purpose of the music curriculum and raise the cross-curriculum

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priorities. There should be higher involvement of Aboriginal and Torres Strait Islanders in future
curriculum designing, planning, and teaching to promote a collaborative and positive learning
environment (Donnelly. & Wiltshire, 2019).
Contrasting teaching philosophies and pedagogies
One of the key challenges for classroom music teachers is to develop the right
pedagogies to promote inclusive learning in young people. Certain policies, structures and values
define the complex ways how the teachers achieve inclusion in their music classrooms and create
an environment for the students to succeed musically.
The teachers can engage the students successfully in musical learning through a shared
learning environment where the music becomes more expressive and culturally meaningful.
Australian teachers are known to carry a more relaxed relationship with students and promote
consistency in musical management with the right focus. The productive relationship between
students and teachers promotes respect for humanity from different cultures. The concept of
inclusion relationship demonstrates the successful nature of student’s engagement and
meaningful music-making. In Australian music classrooms, students are encouraged to express
their musical skills through personal expressions and collaborative performances (Burnard, P.,
Dillon, S., Rusinek, G., & Sæther, 2008). The music carries the power to connect with students
and the culturally diverse community. With the right pedagogies, the music classroom becomes a
kind of common ground where diverse communities get engaged in a genuine relationship as
asserted by Burnard, P., Dillon, S., Rusinek, G., & Sæther (2008)
Participation in a musical creates a higher interest in literature, music, and dance, and
expand children’s artistic horizons. Performing in the studio allows the children to display their

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skills and derive pleasure in the process. When the children get a favorable condition for self-
expression, he becomes more creative and joins the creative process efficiently. An active
creative and practical activity should be part of the pedagogies in a music classroom for the
development of creative abilities and creative personality (Davidova, 2016). Interviews and
surveys show that children can understand creativity and develop creative qualities only by hard
work. It is essential to inculcate the creativity culture-wise right from early childhood and
develop a creative personality with a stimulating environment (Davidova, 2016). Effective forms
of music education can help growing children to enhance their creative abilities and manifest
their musical capabilities and develop a creative personality.
The written and planned Curriculum lays down the knowledge and skills to be addressed
in lessons. However, whatever is included in the Curriculum is not necessarily learned by
students. What the students need is an “action” curriculum that motivates the music students to
act upon and put the lessons in their musical lives (Regelski, 2015). The higher music education
sector in Australis has undergone major changes over the years and has been revised several
times. The feedback of tracers and the peers carried equal value for the learners as they
participated and performed. The students who went on for higher education in music do courses
in popular music analysis, Audio engineering, and music production that adds to their
development of creative projects in music (Rowley, Bennett, & Schmidt, 2019). The collegiate
relationships and collaborations among music students allow them to get local, national, and
international exposure. Creativity and innovation have always been an important part of music
development.
Participatory music-making activities can work as valuable tools for positive social
changes, and they should be open to any student who is interested. Such activities promote

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constructive behavior and group cohesion (Elliott, Silverman, & Bowman, 2016). The best
teachers for music are those who look beyond the restrictions of a laid-out plan and adapt
according to the circumstances of different classes and various students. The pedagogies should
acknowledge new understandings and adapt as per the challenges of the real world (Abril, 2016).
The students of music should be given the opportunity to understand the subject and the freedom
to explore so as to be responsive to changes in society. The pedagogy should shift continually
based on the students, their cultures, and society. The music curriculum should be revised and
updated on a regular basis, as asserted by Abril (2016). The pedagogies should be based on the
action curriculum from a paraxial perspective and deliver effective and lasting musical learning.
An effective curriculum of music should be rationalized with politically motivated ideologies,
rhythmic read, and promote language art and other side benefits (Regelski, 2015).
The placement of music is justified in the school curriculum if it achieves the goals and
stimulates thinking and creativity in relation to theory and practice among the students. It is
essential to place diverse musical genres in the music curriculum and encourage partnerships and
collaborations (Philpott & Spruce, G. (2012). The policymakers, curricula designers, and other
protagonists must raise issues and pose questions regarding the need, nature, and place of music
in the Curriculum. Critical pedagogy and reconceptualization of music in the Curriculum can
help the students engage with the complete range of musical meanings. The teachers and
students should feel empowered about the direction of their musical lives within a cross-
curricular environment. Students need to perform in practice and concerts and reflect upon their
experiences and get feedback. That kind of reflection and practice promotes shared musical
understanding and develop musical confidence. Student-centered pedagogy allows the learners to
grow as a musician and make progress (Krause, & Davidson, 2018).

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According to Micheal & Tacka (2015), the Curriculum can be framed around the
concepts of musical practices rather than just focusing on musical styles or genres in school.
Whether or not the young people decide to continue with their music education depends a lot on
the pedagogies and how the music is taught. Supporting music learners with effective
partnerships can keep young learners motivated and pursue professional development. The
changing social landscape is indeed giving rise to new requirements and expectations, and the
realms of educational Curriculum is not left untouched. While the Australian Curriculum
encourages the use of technology in school music education, yet the guidelines impart a vague
and limited understanding of technology in music. There is a clear disconnect between music and
technology in music education in Australian (Crawford, & Southcott, 2016). The use of digital
technology is still not reflected in contemporary Australian Music curricula.
As asserted by Krause & Davidson (2018), music educators need to show tireless efforts
to create outstanding music experiences and life-long participation in music in their students.
However, it can be challenging to promote on-going musical engagement across different
cultural contexts. The teaching strategies in a music class often focus on improving student
competency in general and make him understand specific components of music. Nevertheless,
critical thinking and creativity in students is possible only when they are given foundational
knowledge as well as a collaborative environment for performances (Krause, & Davidson, 2018)
The objective of music education is to keep the students inspired and continue to
participate in music beyond their school and classrooms. However, continued participation is
often ignored by teachers and amongst students (Krause, & Davidson, 2018). Australian music
educators and facilitators of the Curriculum and courses should have experienced music as
performers as well as listeners. They need to understand as to how music works beyond Western

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training and broaden the musical scope for the students (Krause, & Davidson, 2018). The
interview data reveal how music educators need to encourage awareness and sensitivity
consistently among students. Several findings provide evidence of how music educators can
facilitate long-term musical investment by promoting autonomous engagement among students
so as to add to their personal value in music (Krause, & Davidson, 2018).
The aim of the music curriculum and education should be to make a deeper musical
investment in school and community. Research indicates the role of educators and pedagogies
involved paly an essential role in musical development and interest among students. A strong
social connectedness develops through the musical knowledge and skills that young students can
display and share. The prevailing instrumental music pedagogy in Australian schools need to
work more towards appreciation of connectedness and competency. A lot relies on how Western
society regards music and how the educators approach music education and participation. While
there is plenty of literature and philosophical debates on how music can improve well-being and
social cohesion, the music educators and curriculum designers are still contending with how to
make music more engaging within the school and outside.

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References
Abril, C. R. (2016). Untangling General Music Education. Oxford University Press, 1(1), 1–21.
ACARA (2020). Music Curriculum. Australian Curriculum, Assessment and Reporting
Authority, retrieved from https://www.australiancurriculum.edu.au/f-10-curriculum/the-
arts/music/
Burnard, P., Dillon, S., Rusinek, G., & Sæther, E. (2008). Inclusive pedagogies in music
education: A comparative study of musicteachers' perspectives from four countries.
International Journal of Music Education 26(2), 109-126
Crawford, R. & Southcott, J. (2016). Curriculum stasis: the disconnect between music and
technology in the Australian curriculumArticle in Technology Pedagogy and Education.
Monash University, 26 (3), 1–20.
Crawford, R. (2009). An australian perspective: Technology in secondary school music. Journal
of Historical Research in Music Education, 30(2), 147-167.
Donnelly, K. & Wiltshire, K. (2019). Review of the Australian Curriculum. Australian
Government Department of Education, 1(1), 1–288.
Davidova, J. (2016). Problems in Music Pedagogy. Daugavpils University, 15(1), 1–75.
Dunbar-Hall, P. (2002). Australian Aboriginal and Torres Strait Islander Musics in the
Curriculum: Political, Educational, and Cultural Perspectives. Indiana University Press,
10(1), 18-26.

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Elliott, D. J., Silverman, N., & Bowman, W. D. (2016). Artistic citizenship: Artistry, social
responsibility, and ethical praxis. Oxford University Press, 1(1), 1-21.
Groulx, T. J. (2013). Three nations, one common root: A historical comparison of elementary
music education in the United Kingdom, the united states, and australia. Journal of
Historical Research in Music Education, 34(2), 137-153.
Krause, A. E., & Davidson, J. W. (2018). Effective Educational Strategies to Promote Life-Long
Musical Investment: Perceptions of Educators. Frontiers in psychology, 9(1), 1–21.
Mantie, R. (2013). A comparison of "popular music pedagogy" discourses. Journal of Research
in Music Education, 61(3), 334-352.
Micheal, H. & Tacka, P. (2015). Building the Framework of a Music Curriculum Based on the
Kodály Concept. Oxford University Press, 1(1), 14–51.
Philpott, C. & Spruce, G. (2012). Debates in Music Teaching. Routledge, 1(1), 1–212.