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Describes a university-based graduate preservice music education strategy implemented over two years, aiming to address constraints of crowded curricula while extending opportunities for specialization in primary arts and music.",{"@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 & 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Jennifer Stevens-Ballenger  \nMelbourne Graduate School of Education, University of Melbourne  \nAbstract  \nThe Inquiry into the Extent, Benefits and Potential of Music Education in Victorian Schools (Parliament of Victoria Education Committee, 2013) has once again highlighted that further support from the university sector is needed in order to improve the quality of music education in primary schools. The report calls for “a greater focus on teacher education and training…to address the capacity of primary schools to deliver a quality music education in primary schools”(p. xviii) and “more options for pre-service teachers to study music education while at university, as well as in their early years of teaching and providing increased access to professional learning and support for all primary classroom teachers”(p. xix). There are two important assumptions in these recommendations; that quality teacher education in music leads to improved quality in the primary music classroom, and that in order for teacher education to be effective, it needs to begin at the preservice stage, continue through the graduate level, and be made available throughout the career of the teacher. We are involved in a graduate preservice teacher education in a university setting and in this paper we describe a strategy for providing additional preservice primary teacher education in music that has been developed and implemented over the last two years. Given the constraints of the“crowded curriculum” in teacher education, this approach may be a start to addressing some of the recommendations put forward by the Parliament of Victoria’s Education Committee, and encourage our graduates to continue the collaborative approach to music and arts outlined below once they are in schools.  \nKey words: Primary music education, teacher education, primary generalist, music specialist  \nAustralian Journal of Music Education 2013:1, 64-75  \nIn 2009, the Melbourne Graduate School of Education (MGSE) produced a report on research commissioned by the Victorian Department of Education and Early Childhood Development (DEECD) that examined classroom music education in Victorian state primary schools (Jeanneret, 2009) . Part of the brief was to develop criteria to determine ‘best practice’ in music education, leading to the identification and documentation of examples of current practice in curriculum, pedagogy, assessment and reporting practices of both specialist music and generalist teachers in Victorian government primary schools. The purpose of this paper is not to present this research but to take some aspects of that report and the impact it has had on our  \npractice within music education at the Graduate School. The release of the Inquiry into the Extent, Benefits and Potential of Music Education in Victorian Schools (Parliament of Victoria Education Committee, 2013) and the call for “a greater focus on teacher education and training…to address the capacity of primary schools to deliver a quality music education in primary schools”(p. xviii) demands careful consideration of how this might happen in what is already a “crowded curriculum” and tight timeline for preservice teachers, particularly in graduate teaching degrees such as those offered by the MGSE. There are, however, ways of extending opportunities to specialize in primary arts and music, as we have discovered.  \n64 2013, No. 1  \n1. What is“best practice” in the primary music classroom?  \nIn preparation to examine “best practice” in music education in Victoria’s primary schools, it was critical to define this term that seems to slip off the tongue so easily in education circles.“Best practice” was originally associated with the professions of medicine, law, and architecture, where the professional is aware of current research and consistently offers clients the full benefits of the latest knowledge, technology, and pr","cbCaihNhnF029gPr","https://ap.wps.com/l/cbCaihNhnF029gPr","pdf",173373,12,"English","# Abstract\n## Background and policy recommendations\n## Assumptions behind teacher education reforms\n## Purpose and context of the strategy\n## Defining \"best practice\" in primary music education","[{\"question\":\"What policy recommendation underpins the paper’s focus on teacher education in music?\",\"answer\":\"The inquiry emphasizes a greater focus on teacher education and training, including more options for preservice teachers to study music education at university and earlier teaching years, with access to professional learning and support.\"},{\"question\":\"What are the two key assumptions behind the recommendations?\",\"answer\":\"Quality teacher education in music is assumed to improve the primary music classroom, and effective teacher education must begin at the preservice stage, continue through graduate level, and be supported throughout the teacher’s career.\"},{\"question\":\"How does the paper address the challenge of a “crowded curriculum” for preservice teachers?\",\"answer\":\"It describes a university-developed strategy that provides additional preservice primary teacher education in music, aiming to extend specialization opportunities within tight timelines and constrained degree curricula.\"}]","The generalist and the specialist: serendipity in preservice education | PDF",1792077579]