Research
Musical Futures approaches are developed through sound research and classroom practice
Evaluations and research studies
There have been three substantive research studies conducted around Musical Futures.
Office for Standards in Education, Children's Services and Skills (Ofsted), An evaluation of the Paul Hamlyn Foundation’s Musical Futures Project, 2006
Institute of Education, University of London, Survey of Musical Futures, 2008
University of Melbourne, Musical Futures, An Australian Perspective, 2011
While each study was different the outcomes broadly found that Musical Futures increased:
Office for Standards in Education, Children's Services and Skills (Ofsted), An evaluation of the Paul Hamlyn Foundation’s Musical Futures Project, 2006
Institute of Education, University of London, Survey of Musical Futures, 2008
University of Melbourne, Musical Futures, An Australian Perspective, 2011
While each study was different the outcomes broadly found that Musical Futures increased:
- Student attitudes toward music
- Student self-esteem in relation to music
- Student engagement with music
- Levels of musical attainment
- Attitudes and outputs from group work
- On–task behaviour
- General in class behaviour
- Increased skills and satisfaction amongst teachers
Teachers Application of Arts Rich Practice
A fourth study was undertaken by the CASS Foundation and the University of Melbourne and this investigated the potential of the Musical Futures professional developmental model in establishing sustainable networks - in this case in regional Victoria. The report, Teachers Application of Arts Rich Practice is now available to download.
• A sample of those teachers who have implemented the strategies have noted very positive outcomes for themselves and their students
• The access to free online materials and networks, and the collegial community via social media have been important factors in the support and mentoring process and sustaining the momentum amongst teachers
• The school executive support for the professional learning workshop and subsequent implementation was noted in the continued success of the program in schools
• The Musical Futures professional learning model embodies many aspects of the best practice model proposed by the Australian Institute for Teaching and School Leadership
• The Musical Futures model of immersion in music making and modeling pedagogy acquaints, or reacquaints teachers with the concept of “participatory” music (Turino, 2008) as a starting point for classroom music and acknowledges ongoing research in developing confidence to teach music (Jeanneret, 1997; Jeanneret & Stevens-Ballenger, 2013)
Download the report
cassmusicreport_final.pdf
Download File
• A sample of those teachers who have implemented the strategies have noted very positive outcomes for themselves and their students
• The access to free online materials and networks, and the collegial community via social media have been important factors in the support and mentoring process and sustaining the momentum amongst teachers
• The school executive support for the professional learning workshop and subsequent implementation was noted in the continued success of the program in schools
• The Musical Futures professional learning model embodies many aspects of the best practice model proposed by the Australian Institute for Teaching and School Leadership
• The Musical Futures model of immersion in music making and modeling pedagogy acquaints, or reacquaints teachers with the concept of “participatory” music (Turino, 2008) as a starting point for classroom music and acknowledges ongoing research in developing confidence to teach music (Jeanneret, 1997; Jeanneret & Stevens-Ballenger, 2013)
Download the report
cassmusicreport_final.pdf
Download File
Foundation studies
The development of the Informal Learning pedagogies that lie at the heart of the Musical Futures approach was led by Professor Lucy Green of University College London. Musical Futures takes the central characteristics of informal music learning methods as described by Green and adapts them to classroom environments. This change in teaching’ approaches resulted in a rise in student motivation (Hallam et al. 2008, Jeanneret et al. 2011, Wright 2011).
Subsequently, Green developed similar pedagogial approaches for the specialist instrumental lessons which is called Listen, Hear, Play!
Subsequently, Green developed similar pedagogial approaches for the specialist instrumental lessons which is called Listen, Hear, Play!
Further reading on informal learning
- 2014, Listen, hear, Play! How to Free Your Students Aural, Improvisation and Performance Skills, London: Oxford University Press (156 pp) ISBN: 9780199995769
- 2008, Music, Informal Learning and the School: A New Classroom Pedagogy, London and New York: Ashgate Press
- 2001/02, How Popular Musicians Learn: A Way Ahead For Music Education, London and New York: Ashgate Press (238 pp); ISBN 0 7546 0338 5 (hardback); issued in 2002 as paperback; re-printed 2003, 2005, 2008
