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tful whether a specialist responsible for most of the teaching is desirable. It is the musical education of the non-specialist which, in our view, is the key to the problem.”(Web link: Plowden Report para. 690)

It was over two decades before this thinking began to be properly implemented. In the meantime, schools relied on music specialists –teachers who were trained musicians, almost always skilled pianists –and this led, at best, to a detachment of music-teaching from the rest of the curriculum, delivered by the class teacher, and, at worst (where a specialist was unavailable), marginalised or non-existent music education.

The development of a National Curriculum for music which is intended to be delivered by classroom teachers without any music specialisation has allowed it to be linked with other work more easily.More significantly still, delivery by the class teacher who, through far more exposure to the class than the ‘once-a-week music teacher’,understands the dynamic of the class and the individual pupils’situations, enables that teacher to deliver music teaching in a way that engages the class more readily and meets their specific needs.

In 1991, the National Curriculum for Music was developed quickly,with limited research and, in many areas of music teaching, no accepted‘good practice’ that could be incorporated into the plan. In 2000, anew National Curriculum for Music was introduced that could take account of what had been learnt through the 1990s. The announcement of the government’s Music Manifesto in July 2004 suggested a further commitment to music education, with the aim that every child should have the opportunity to learn a musical instrument. Although this could be considered a move away from classroom music teaching, with the requirement for peripatetic instrumental teachers and the demands made on limited school time, the potential outcome is a future generation who consider a wide range of music to be part of their culture and experience, rather than something for their more gifted or more affluent classmates.

In order to consider how music should be used across the Primary curriculum, some thought should be given to the ways in which children learn. There are various theories of learning: at the extremes are maturation, which suggests children should be left to learn through their own experiences, and behaviourism, which advocates learning through instruction from others. Many theories consider learning to be a combination of the two: Vygotsky’s theories reconcile the two approaches.

Jean Piaget’s theories tend towards maturation and have been influential in education, though probably more so in the sciences than the arts. Through many years of observation, Piaget drew the conclusion that children establish a ‘framework’ within which they construct their vision of the world. As they experience something new, they try to explain it from the perspective of the framework (assimilation). Only if they cannot will their framework develop in some way(accommodation). Much of the experience Piaget considers should be self-generated and not instructional from teachers, parents or other authority figures.

Piaget proposed four key stages of learning. For p本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。