Exploring an Inquiry-Based Stance for Planning and Instruction in General Music Education

Abstract

Through the experiences of Joan, we see how music teachers might re-envision instruction with attention to an inquiry-based approach for education. Within this context, students actively construct musical meanings themselves, rather than acquiring those meanings by taking part in musical activities constructed by teachers. An example of this approach is provided in the unit “Sound Escapes,” wherein teacher and students explore their musical environment from the stance of inquiry. Although the academic terminology around inquiry-based learning may be new, music teachers already incorporate the educational principles underlying these strategies by engaging students in their learning through questioning and problem solving. Through this unit, we see how teachers might encourage students' inquiries in music around a schoolwide inquiry project. These ideas are also appropriate for an inquiry stance to planning and instruction within a music program where connections are not related to schoolwide events as they are in the example depicted.

Keywords

inquiry elementary music curriculum planning and instruction

Get full access to this article

View all access options for this article.

References

Bouchard, D. (1993). If you're not from the prairie. Vancouver, British Columbia, Canada: Raincoast.

Bouchard, D. (1999). Prairie born. Victoria, British Columbia, Canada: Orca.

Broomhead, P. (2005). Shaping expressive performance: A problem-solving approach. Music Educators Journal, 91(5), 63-67.

Clifford, P. , Friesen, S. , & Jardine, D. (n.d.). Collaboration in teacher education: Cultivating an inquiry stance. Retrieved February 27, 2007, from www.galileo.org/research/publications/collaboration_tchr_ed.pdf

Cochran-Smith, M. , & Lytle, S. (2001). Beyond certainty: Taking an inquiry stance on practice. In A. Lieberman & L. Miller (Eds.), Teachers caught in the action: Professional development that matters (pp. 45-58). New York: Columbia University.

De Coteau-Orie, S. (1995). Did you hear wind sing your name? New York: Walker.

Higdon, J. (2002). Peachtree Street [Recorded by the Atlanta Symphony Orchestra]. On City Scape/Concerto for Orchestra [CD]. Cleveland, OH: Telarc. ( 2004 )

Otis-Wilborn, A. (1995). Conceptualizing and reconceptualizing curriculum . The Volta Review, 97(5), 19-31.

Paul, S.J. , & Ballantine, J.H. (2002). The sociology and connections to music education research. In R. Colwell & C. Richardson (Eds.), The new handbook of research on music teaching and learning (pp. 566-583). New York: Oxford University Press.

10.

Regelski, T. (2004). Teaching general music in grades 4-8: A musicianship approach. New York: Oxford University Press.

11.

Saskatchewan Education. (1994). Arts education: A curriculum guide for grade six. Retrieved April 20, 2008, from http://www.sasked.gov.sk.ca/docs/artsed/g6arts_ed/g6mtblae.html

12.

Scott, S.J. (2006). A constructivist view of music education: Perspectives for deep learning. General Music Today, 19(2), 17-21.

13.

Steen, A. (1992). Exploring Orff: A teacher's guide. New York: Schott.

14.

Watts, M. , Gould, G. , & Alsop, S. (1997). Questions of understanding: Categorising pupils' questions in science. School Science Review, 79, 57-63.

15.

Wiggins, J. (1999). Teacher control and creativity. Music Educators Journal, 85(5), 30-36.

16.

World Soundscape Project. (1997). The Vancouver Soundscape [CD]. Vancouver, British Columbia , Canada: Cambridge Street. (Some sections published in 1973)