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Music in Schools and Teacher Education Commission (MISTEC)
Καινοτόμες Εφαρμογές στη
Σχολική Μουσική Εκπαίδευση
Πρακτικά Ημερίδας
11 Ιουλίου 2012, Κομοτηνή
Innovative Applications in
School Music Education
Conference on Greek Music Education
11th July 2012, Komotini
GREEK ASSOCIATION OF PRIMARY MUSIC EDUCATION TEACHERS
ΕΝΩΣΗ ΕΚΠΑΙΔΕΥΤΙΚΩΝ ΜΟΥΣΙΚΗΣ ΑΓΩΓΗΣ
ΠΡΩΤΟΒΑΘΜΙΑΣ ΕΚΠΑΙΔΕΥΣΗΣ
MISTEC Komotini 2012 - Proceedings
163
Let’s introduce a composer to pupils
Elissavet Perakaki
Abstract
In music education, worldwide, pupils come in contact with the life and works of great
composers. Even from early childhood, pupils listen to music and often participate in
activities, like dancing, drawing and singing simultaneously. In puberty, pupils change their
minds on their music, choosing mostly pop music, hip-hop and rock. Research has shown
that teenagers are influenced by their friends, due to their need to belong to a group.
Although, the aim of music education in schools is not to prevent pupils from listening to
their favorite kind of music, but to familiarize them with less known kind of music and their
composers, to associate their works with personal experience, and to connect the past with
the future. This procedure should appeal to pupils, enabling them to participate creatively.
Curricula in Greece adopt these aims and invite music educators to introduce mainly six
great Greek composers to pupils especially in High School. Keeping this in mind, a course
was organized, which contained 2-3 lessons devoted to each composer. During these
lessons, pupils listened to music, sang, performed, orchestrated and watched video extracts
of the news, concerts, performances, films etc. Together both teacher and pupils decided
which songs/works they would perform, sing and play with instruments. During this
procedure, pupils understood the importance of the composer and his work, expressed their
prejudices and realized the continuity of songs/works with the passage of time. Putting
prejudices into knowledge, withou
cannot be directly evaluated, as attitudes are not easily changed. But the teacher can realize
the cultural and musical environment around them. Setting an example, the music course
devoted to Stavros Xarchakos will be analyzed extensively.
Keywords
Stavros Xarchakos, Analytical Programs, musical preferences, Secondary Education,
video in classroom, creative activities.
In music education, worldwide, pupils come in contact with the life and works of
great composers. Even from early childhood, pupils listen to music and often
participate in activities, like dancing, drawing and singing. They have attended music
lessons in school since the age of 6 years old, learning music notation, traditional
songs, rhythms, dances, a variety of musical genres and taking part in other creative
activities. Although the teacher has given pupils in primary education many musical
and cultural stimuli (in Greece lasts up to 12 years old), everything is totally different
in secondary education and in adolescence: pupils change their minds about their
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MISTEC Komotini 2012 - Proceedings
music, choosing mostly pop music, hip-hop and rock. As research has shown,
teenagers are influenced by their friends, due to their need to belong to a group
(North et al., 2000; Papapanagiotou, 2004, 2009; Perakaki, 2009). Music preferences
of friends are the most fundamental factor, which influences them and play a more
important role in their choices, than what adults or school suggest (Hargreaves &
Norton, 1999; Tarrant et al., 2000; Finns, 1987 & Finns, 1989 in Papapanagiotou,
2004; LeBlanc, 1991 in Papapanagiotou, 2009; Cremades et al., 2010). From
research, Papapanagiotou (2004) concludes, that teenagers tend to follow these
preferences, even if they are not quite right, or they do not absolute coincide with.
On the other hand, among the objectives of music education in schools is
that a music lesson should cultivate pupils aesthetically, bringing them in contact
with all musical genres and exceptional composers in a creative way (Kokkidou,
2009). As well, pupils should understand the cultural and musical continuity and
heritage, broadening their musical horizons. At the same time, Curricula urge
circumstances, the teacher is obliged to find a creative and interesting way to teach
music, and to present the life and work of an eminent composer.
The aim of this paper is to suggest a creative way to introduce a composer
to pupils, involving them actively in the music lesson with real pleasure.
The New Curricula in Greece (2011) with its spiral form belongs to the above
erence, needs and maturity.
Since 2009, new handbooks have been written for the faculty of Music at
schools in primary and secondary education. A whole unit has been dedicated to
Greek eminent composers of the sixties for pupils 14-15 year-old (3rd class of High
who keep influencing Greek music form and inspired current composers: M.
Hadjidakis (1925-1994), M. Theodorakis (1925- ), Y. Markopoulos (1939 - ), S.
Xarchakos (1939 - ), M. Loizos (1937-1982) and D. Savvopoulos (1944 - ). All of them
have included in their works features from traditional and Byzantine music (rhythms,
traditional musical instruments etc.), forming a different music idiom. One hour is
the recommended length of the presentation of each composer. Creative activities
k.
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Implementation outline
In order for all the above to take place in class, and simultaneously to enrich the unit,
we implemented a music lesson course during the school year 2011-2012, in a public
general high school in an urban area in Piraeus (Greece). Students of the third class
participated in the course (ages 14-15 year-old), following the Curricula which has
been implied in secondary schools recently. The teaching procedure for each creator
lasted 2-3 lessons and it had the same structure, but when needed, the appropriate
changes took place. The choice of content in subject matter was largely determined
that they came in contact with and activities, which they apply. That is the reason
why the number of lessons differentiated among composers. At each phase of the
teaching procedure, the principles of inquiry learning were applied.
1. Pupils are going to learn significant songs of Greek composers.
2. Pupils are going to come in contact with poetry and music
2
.
3. Pupils are going to understand to some extent the structure and the harmony
of Greek songs.
To the given objectives, a few were added during the implemented course:
1. Pupils are going to be familiarized with less known genres of music and their
composers.
2. Pupils are going to associate their works with personal experience.
3. Pupils are going to connect the past with present and future.
This procedure should appeal to pupils, enabling them to participate creatively.
During these lessons, pupils
listened to music
2
It Is Worthy).
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Through listening exercises, pupils recognized musical instruments, the form of every
work/song and applied former knowledge of music theory (rhythm, pulse, notation,
ostinato etc.).
sang, performed, orchestrated, recorded their performance
They used their knowledge of music theory (such as pulse-rhythm, types of meter,
notation, chords etc.), to play and sing together and thus develop responsibility and
co-operation skills. They also expressed themselves and felt acquainted to the
song/work. At the end, they recorded their performance and orchestration,
mentioned the advantages and disadvantages and assessed themselves.
took decisions and worked in group
All the activities mentioned above took place in small groups (3-4 pupils each) or
e whole class into an orchestra. In all cases, pupils discussed,
decided, tried, chose and performed the selected song. Great importance placed on
the development of cooperation between pupils and in general on the integration of
their personalities.
watched video extracts of the news, concerts, performances, films etc.
A video extract sometimes introduced the idea of the lesson. Selected extracts
should be intimate to some extent to pupils, in order to remind them of events or
experiences. Extracts from daily life, events, news or broadcastings, which have been
on TV recently, give opportunities to pupils to connect school knowledge with life
out of it.
While watching, they not only focused on music events and other arts
(music, theatre, cinema, dance etc.), but also on architecture, fashion, occupations,
social conditions etc. At the end of the video extract, pupils commented, discussed
and expressed their prejudices and opinions. Common questions for each composer
on which the discussion was based were:
The structure of the discussion guided the sequence of the videos. This practically
means that the teacher should always have more videos than may be required, in
order to direct the discussion in class, appropriately.
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Setting an example: Stavros Xarchakos
Born in Athens in 1936, Stavros Xarchakos is an eminent Greek composer and
conductor. He has composed music for theatre, cinema and series on TV. As a
conductor, he has co-operated with Leonard Bernstein in seventies. Since 1995, he
has been director of the National Orchestra of Greek Music.
1st lesson: Who is he? Why is he significant?
Through discussion with pupils, the music teacher realized that some of
them had not even heard of the composer and his work. After watching the first
video and listening to a song they recognized the music. Many of them knew by
phase of teaching procedure, pupils expressed their opinions and prejudices; they
could remember events, information, former knowledge and experiences, through
music and videos.
photos from his albums. Given information was explained by videos extracts. These
extracts were from movies, performances, news and broadcastings. As well, they
composed in 1966 and the
first performance was by Stamatis Kokotas, but till recently, many current singers
followed. Claude Lemesle has arranged this song and Melina Merkouri sang it in
standing.
(Athens, 2004).
At the end of the first lesson, pupils recapitulated, what they had learned
about Xarchakos and planned the next lesson(s).
2nd 3rd lesson: Pupil performances - recordings
expressed their preferences and they sang, orchestrated and performed their
favorite songs, applying their former musical knowledge (notation, rhythm, structure
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etc.). All these activities took place either in groups or with the participation of the
whole class. The participation of pupils, wherever possible, who played a music
instrument is very demonstrative. Since, they contributed to the whole procedure,
via their musical knowledge and skills.
Assessment
Pupils came in contact with eminent Greek composers, who still influence the
contemporary music creation, due to the implementation of this teaching method to
all composers, with alterations when needed. Having combined in their works music
elements from classical, Byzantine and traditional music, they have formed a
different music dialect, through which the recent social and political development of
Greece is revealed. Recognizing these features, pupils also applied former knowledge
and understood the continuity of music, social and cultural heritage.
In addition, we gave the opportunity to pupils, not only to express their
opinion and notions towards a kind of music -
)- which is not their favorite, but also to construct the structure of the music
lesson according to their needs, preferences and maturity. It may be the reason why
the participation of pupils was active in all phases of the teaching procedure.
Simultaneously, they learned about a composer, expressed themselves, sang,
orchestrated, took decisions, co-operated with others and assessed their creations,
cultivating their cognitive, affective and psychomotor skills. Under these conditions,
pupils gain the acquisition of knowledge and the development of various types of
skills.
Coda
Working with pupils, a music teacher can easily recognize that the majority of them
does not remember composer name, even of their favorite kind of music or song.
The integration of sound and picture combined with creative activities, as we have
described,
transform their prejudices into knowledge, without pressure but creativity.
MISTEC Komotini 2012 - Proceedings
169
effort cannot be directly evaluated, as attitudes and
dispositions are not easily changed. But the teacher can realize and be sure, that
he/she constructs a life-long relationship between teenager and music, offering the
suitable orientation. He/she helps them to form their views and to develop a critical
eye through which they can understand and communicate with the world they live
in.
References
Cremades, R., Lorenzo, O., & Herrera, L. (2010). Musical tastes of secondary school
cultural backgrounds: a study in the Spanish North
African city of Melilla. Musicae Scientiae XIV, (1), 121-141.
Hargreaves, D. J. & North, A. C. (1999). The Functions of Music in Everyday Life:
Redefining the Social in Music Psychology. Psychology of music, Vol.27, No 1,
pp. 71-83.
Kokkidou, M. (2009). European Music Curricula: Philosophical Orientations, Trends,
and Comparative Validation. Thessaloniki: G.S.M.E.
North, A.C., Hargeaves, D.J., & O Neil, S.A. (2000). The importance of music to
adolescents. British Journal of Educational Psychology, 70, 255-272.
,
). Musical Pedagogics, 1, 34-38.
Papapanagiotou, X. (2009). Social influence and music: some points for education in
Music Pedagogy Issues pp. 37-62, Papapanagiotou, X. (ed.), (in Greek:
Perakaki, El. (2008). How to plan a music lesson. (in Greek
. Athens: Fagotto.
Perakaki, El. (2009). Developing Critical Thinking at the teaching music in secondary
education (in Greek
). Unpublished Doctoral Thesis in
Musical Studies Department at National and Kapodistrian University of
Athens.
Tarrant, M., North, A.C., & Hargreaves, D.J. (2000). English and American
ns for Listening to Music. Psychology of Music, Vol. 28, pp.
166-173.
Enjoying Xarchakos’ music on youtube
http://www.youtube.com/watch?feature=endscreen&NR=1&v=v4bBu54mCa
I
Xarchakos is directing a Greek orchestra, which performs his instrumental
compositions (Summer 1967).
http://www.youtube.com/watch?v=QKckRZBVJQY
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MISTEC Komotini 2012 - Proceedings
An extract from a broadcast on National Television, where pupils of Music School in
http://www.youtube.com/watch?v=ypEOvhN8p2s&feature=related
Nikos Xylour
http://www.youtube.com/watch?v=Vh9nI0cAE6w
following site: http://www.youtube.com/watch?v=z5pFlT8slG8
http://www.youtube.com/watch?v=0V-PhzBN27E
tional Greek
Orchestra. An extract of a live concert in Athens in 2010.
http://www.youtube.com/watch?v=h2atZjcBqs4
An extract of the Opening Ceremony of the Olympic Games, 2004 Athens. Xarchakos
music begins in 1:58.
http://www.youtube.com/watch?v=vth3JWcmpNM&feature=related
http://www.youtube.com/watch?v=G1Mw-R1nubM&feature=related
Elissavet Perakaki holds a Ph.D in the field of Music Education (University of Athens, department of
Musical Studies, 2009) and she has a degree in Musical Studies from the same University. The title of
She has taught in public primary and secondary schools and in conservatories, since 1998. She
received her guitar degree in 1997. She has written reviews on greek, german and english books for
-2003). She has also published papers in
conferences and journals in the field of Music Education. In her interests is the application of critical
thinking skills in music lessons and the implementation of attractive methods in listening, playing
music and composing activities. She has published 2 books in Greek (Fagotto, 2008 & 2009).
