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Based on an ethnographic investigation, the study examines teacher practice and student engagement across two Melbourne schools, using participant-observation, interviews, and focus groups to analyze how whole-school assessment policies shape day-to-day classroom practice.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & Report",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/musical-futures-and-the-influence-of-whole-school-assessment-policies-in-two-music-classrooms/593949/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/musical-futures-and-the-influence-of-whole-school-assessment-policies-in-two-music-classrooms/593949.png","ImageObject",300,407,{"name":42,"@type":43},"Franzy","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-11-09","2026-10-15",true,{"@type":52,"interactionType":53,"userInteractionCount":55},"InteractionCounter",{"@type":54},"ViewAction",9,{"@type":57,"mainEntity":58},"FAQPage",[59,65,69],{"name":60,"@type":61,"acceptedAnswer":62},"What is Musical Futures and how is it implemented in classrooms?","Question",{"text":63,"@type":64},"Musical Futures uses complementary approaches drawn from out-of-school musical contexts, emphasizing student-driven learning through immersion in music making. In class, the teacher observes, diagnoses needs, and offers responsive support.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"What principles guide student-directed learning in Musical Futures?",{"text":68,"@type":64},"Learners choose the music and set the learning direction, with an emphasis on learning by listening to and copying recordings. Learning occurs in friendship groups, integrates performing/composing/listening, and remains non-linear and holistic based on immediate student needs.",{"name":70,"@type":61,"acceptedAnswer":71},"How do whole-school assessment policies affect teachers’ day-to-day practice in this study?",{"text":72,"@type":64},"The article presents selected findings showing summative assessment as a key area of challenge for the two teachers. 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Consisting of complementary approaches arising from out-of-school contexts, Musical Futures incorporates the learning processes of popular musicians and community musicians. It is characterised by learning that is student-driven with an emphasis on learning through immersion in music making. The larger study from which this article is drawn is an ethnographic investigation of teacher practice and student engagement.  \nResearch participants were two music teachers and four classes of children aged ten to sixteen years from two schools in the outer-south eastern suburbs of Melbourne, Australia. The teachers were previously identified as drawing on Musical Futures approaches following their participation in a professional learning workshop. Data was collected through participant-observation of music lessons, interviews and focus groups. This article presents selected findings related to the whole school assessment policies which were influential over the two teachers’ day-to-day classroom practice. Summative assessment was an area of interest for the two teachers as their whole school policies were challenging to implement.  \nIntroduction  \nMusical Futures was established in response to ongoing interest in adopting more engaging teacher practices to address persistent concerns about student dissatisfaction with school music classes (Green, 2008; D’Amore, 2008). Musical Futures consists of complementary pedagogical approaches arising from out-of-school contexts, including those of popular musicians and community musicians. It is characterised by learning that is student-driven with an emphasis on learning through immersion in music making. Musical Futures’ informal learning model derives from Lucy Green’s (2002) seminal research examining the student-directed learning principles of popular musicians. When this approach is brought into the classroom, the role of the teacher is to stand back and observe and then diagnose and offer support in a responsive manner.  \nGreen (2008) identifies five student-directed principles:  \n• Learners choose the music to play and set the direction of learning.  \n• There is an emphasis on aural learning through listening to and copying recordings.  \n• Learning is undertaken in friendship groups.  \n• Performing, composing and listening are integrated.  \n• Learning is haphazard, non-linear, holistic or serendipitous based on immediate studentidentified needs rather than planned and sequenced in advance.  \nComplementing these principles is the Classroom Workshopping approach, emanating from the community music leadership practices ofthe Guildhall CONNECT ensembles, a large scale community music outreach program run by the Guildhall School in London. D’Amore (2008) and  \n92 52(2)  \nRenshaw (2005) identify the following community music leadership practices:  \n• The teacher is a facilitator playing alongside the students, where the music is coconstructed with musical material that reflects the interests of both students and the teacher.  \n• Whole-class, large-group music making that is inclusive of varying musical experience and backgrounds.  \n• Creative music making across the areas of performing, composing and listening.  \n• Music learning is tacit, acquired through immersion in music making rather than talking and explaining.  \n• Aural/oral learning is the starting point.  \nAssessment in music education  \nThere is little research concerning assessment and Musical Futures. Teachers are thought to make use of their usual assessment approach when","cbCaiiz2pUhd46dm","https://ap.wps.com/l/cbCaiiz2pUhd46dm","pdf",125761,"English","# Introduction\n## Assessment in music education","[{\"question\":\"What is Musical Futures and how is it implemented in classrooms?\",\"answer\":\"Musical Futures uses complementary approaches drawn from out-of-school musical contexts, emphasizing student-driven learning through immersion in music making. In class, the teacher observes, diagnoses needs, and offers responsive support.\"},{\"question\":\"What principles guide student-directed learning in Musical Futures?\",\"answer\":\"Learners choose the music and set the learning direction, with an emphasis on learning by listening to and copying recordings. Learning occurs in friendship groups, integrates performing/composing/listening, and remains non-linear and holistic based on immediate student needs.\"},{\"question\":\"How do whole-school assessment policies affect teachers’ day-to-day practice in this study?\",\"answer\":\"The article presents selected findings showing summative assessment as a key area of challenge for the two teachers. Their whole-school policies are described as difficult to implement within Musical Futures-informed classroom practice.\"}]","Musical Futures and the influence of whole school assessment policies in two music classrooms | PDF",1792078246,23]