The Place and Application of Music Education Research in Kenya
|
|
- Tyler Murphy
- 5 years ago
- Views:
Transcription
1 The Place and Application of Music Education Research in Kenya By CLENIECE MBECHE OWINO, Kenyatta University& EMILY ACHIENG AKUNO, The Technical University of Kenya Introduction - The Role and Place of Music in Education and Society History shows that no human culture appears to be without music. In most cultures music serves several functions other than entertainment and aesthetic expression of individuals (Hallam, 2001). In African societies music is an integral part of the life of an African. Nketia (1975) observes that in traditional African societies, musical life is cultivated and promoted through people participating actively in a group rather than through the creation of special music institutions. Bebey (1975) describes music as an integral part of African life from the cradle to the grave. In all the stages of an African s life, there is music to accompany each transition and in the day to day activities like planting, harvesting, and indeed in every sphere of the life of an individual (Zake, 1986). Since time immemorial, music has been regarded as necessary for human existence. Among the ancient Greeks and during the Renaissance and Baroque periods, basic knowledge of music was expected as part of the total human socialisation. Each society embraces its own music because they believe that it improves the quality of life. Abeles, Hoffer, and Klotman (1994:67) describe the breadth and depth of humankind s interest in music: All over the world, people spend countless hours listening to music and performing it, and they spend vast amounts of money for instruments, recordings and sound reproducing equipment. People dance, sing lullabies and create new tunes in just about every part of the globe. The role of music in education cannot be overemphasised; several authors have espoused the need for music in education, arguing that it makes a positive contribution to the development of the individual who engages in it (Hoskyns 1996; Durrant and Welch 1995; Swanwick and Taylor 1982; Elliot 1995 and Leonhard and House 1952). For the growth of any profession, research needs to be done, and so it is key to progress in music and music education, as Barone and Eisner (2006:96) state: The ultimate goal of doing Arts based Educational Research (ABER) is the betterment of educational policy and practice..it is not aimed toward a quest for certainty but an enhancement of perspectives. Arts-based researchers aim to suggest new ways of viewing educational phenomena. It broadens and deepens on-going conversation about educational policy and practice by calling attention to seemingly common sensical, taken-for-granted notions. The implication of this statement is that research in the arts should lead to a corresponding change in strategies and practices that lead to better learning outcomes. In Kenya, there are lots of researches that have been carried out in institutions of higher learning. These are carried 1
2 out mainly by arts educators who think and write analytically and reflectively on a wide range of topics. Other researches are carried out by post graduate students as part of the requirements for obtaining a Masters or a Doctoral degree in Music. The topics that have been interrogated are summarised below in four broad categories. Types of Research in Music Music Education The meaning of music education has been categorised into four areas by Elliot (1995) as: a) Education in music which involves teaching and learning of music making and music listening; b) Education about music which involves teaching and learning formal knowledge about music making, music listening, music history and music theory; c) Education for music which may be taken in two ways; either teaching and learning as preparation for beginning to study music or preparation for a career as a performer, composer, historian, critic researcher or teacher; and d) Education by means of music which overlaps with the first three. These paradigms highlight a number of ways in which music permeates the everyday life of an individual especially in a learning environment. Researchers have concentrated heavily on learning institutions, starting from pre-school to the university. The researchers concern has been the quality of teaching and learning in the institutions. In researches carried out in preschools, the researchers have interrogated various ways in which multicultural music can be used to impart knowledge right from a tender age (Andang o, 2009). They have recommended various ways by which pedagogy and musical experiences in early childhood can be synchronized to give the children wholesome education. In their findings, they have highlighted major challenges in pre-school education, effects of types of genres preferred by learners and different strategies for enhancing access to music education. Few researchers have looked at music education in the primary schools. This could be attributed to the fact that music, having been introduced in the Kenyan curriculum in 1985, was dropped several years later. The reasons cited were that the curriculum was overloaded. The researches based on music education in primary schools reveal a need to train teachers, especially at the teacher training institutions where those interested in teaching music could be prepared adequately, and to use resources and methodologies that provide cultural relevance to learners (Akuno, 1997). The scarcity of resources in the provision of quality music education has also been echoed by researchers interrogating various aspects of music in secondary school and teacher education (Digolo, 1997; Monte, 2009; Mwangi, 2000; Njui, 1989). Apart from inadequate resources, they have articulated the need for quality pre-service and in-service teacher training 2
3 which will then impart pre-requisite skills needed for one to teach effectively. Others have suggested resources that can be used in teaching music like folk songs and other types of local music that is readily available instead of relying heavily on western music resources (Akuno, 1997; Mushira, 2010; Mbeche, 2010). Researches focusing on students, who are the recipients of music knowledge and skills have also been carried out with an aim of finding out how learning outcomes can be improved by providing students with adequate resources and appropriate training (Andang o, 2000; Kahindi, 2000; Mushira, 2000 and Mbeche, 2010). There has also been an interest in students studying music at the university, their attitudes, performance and expectations. Researches carried out establish a link between psychology and music (Andang o, 2000). However, one factor that has been noted is that a majority of the researches done in music education have had a focus on secondary schools. This could be due to the fact that music, though expected to be taught at primary school, is no longer examinable, and may not receive as much attention as hoped for. Composition and Performance in African and Western Music Music as an expressive art involves performance using various media. Researches carried out in this area focus on performance practice, composition and arrangement of various kinds and pieces of music. The researchers comment on how various music elements have been applied in the compositions, and the need for musically educated composers who are sensitive to both western and African musical ideas and how to use them appropriately (Musungu, 1999; 2010; Obaga, 2004). Different musical styles styles or genres, like zilizopendwa 1 (Otoyo, 2010), Kenyan Hip Hop (Mugambi, 2001; Amateshe, 2012) and other kinds of popular music have been highlighted and their use in a classroom setting has been suggested (Ondieki, 2010). Male and female traditional composers have been studied and recommendations made regarding their perceived roles and expectations (See PPMC publication Bibliography of Kenyan Musicians). Twentieth century Western music, inspired and driven by African music, has captivated global audiences and has found a new attraction and admiration by Kenyan artists. Music traditions from different groups and communities have been studied and analysed which has led to documenting and archiving of various music traditions (Nyakiti, 2004). Music and Technology The role of technology in contemporary societies cannot be ignored. Researchers have interrogated the use of digital technology, specifically computers in promoting access to music education in schools (Achola, 2007). Recommendations made include introducing a course in music technology in higher education institutions and training teachers so they can develop competence in computer and other technological skills. Studies in e-learning for enhancing 1 Zilizopendwa is Kiswahili word that means literally those that were loved and refers to old classics, music that have remained relevant and enjoyed despite the passage of time. 3
4 access to music education has also been evaluated and discussions noted on how this learning tool can be used to disseminate musical knowledge. In summary, there is a lot of research that has been conducted, both by art practitioners, educators and researchers in the area of music. Many recommendations have been made which, if implemented by relevant entities, can lead to an improvement in the quality of life of the individuals who engage with music at different levels and in different spaces. Dissemination of Music Research Output and Application of Findings An important part of carrying out and publishing research is to make recommendations based on the findings. These recommendations are supposed to be implemented in order to improve, modify or change the issues under investigation. The knowledge generated has been disseminated and/or applied in the following areas of engagement: 1. Music Education One of the general recommendations made is the serious need for provision of resources and training for both pre-service and in service teachers. The idea of training in-service teachers for a higher qualification was adapted several years ago by Kenyatta University, among others, who started a school-based programme for teachers who want to further their education. These teachers go to universities and take up various courses towards a qualification in education. In the area of music, they are given music skills and knowledge to enable them to develop competence in music teaching. In line with the universities requirement to review the curriculum at regular intervals, new courses and course content like music technology have been introduced and, in many schools, computers are now available for students to use during lessons. 2. Communication Media and Advertising Music is a very important tool of communication, expression and advertising. This aspect has been utilised by the media and the advertising agencies. Its power to communicate deep and hidden meaning through use of the voice, symbols and expressions, has fascinated researchers who try and unravel the mystery of its powers. A significant percentage of media programming includes music. The types of music played to accompany images and commentaries influence the public s perceptions and attitudes. In Kenya, a large percentage of music aired from public and private broadcasting media houses is non-kenyan. The print media seem to pay a lot of attention to international music and artists, though this is changing. The commercials and advertisements used to market local products use music thus contribute substantially to the growth of the local music industry including the artists and producers. The Government is committed to ensuring that the media partner with other players in the development of local music and musicians. This has been done through ensuring that commercials for local products use local talent and expertise as well as ensuring and promoting 4
5 the use of Kenyan music in public institutions, including the national airline, government offices, airports and public functions. 3. Tourism In the Tourism circuit, music promotes our culture and continues to market the country. Each of the country s forty two indigenous communities has a unique body of cultural expressions that attract international attention. These cultural expressions including music continue to give the country a unique identity. This is a special branding that only the arts can do The Tourism Industry has recognised the demand for new products. Local music and dance can play a great role in meeting this demand as tourists develop interests in musical expressions. Currently music performers in the rich tourist sites include contemporary popular and traditional music. Traditional performances exhibit a low level of professionalism. The products are not well packaged or marketed to reflect the authentic Kenyan musical forms and expressions, and the artists are subjected to exploitation by the managers in the hospitality industry. The Government is committed to the effective use of Kenyan music within the tourism industry. This has been realised through: Ensuring the use of Kenyan cultural music idioms as marks of identity(branding); Ensuring the performance of Kenyan music in the tourist circuit; Using Kenyan music to promote Kenya internationally; Developing a local music tourist infrastructure through national, regional and international music festivals and international trade and tourism fairs; Ensuring the use of Kenyan music in promotional material in the tourism and other industries. 4. National Development Agenda Provisions of the Music Policy Music is a vital tool for disseminating social marketing messages in all the areas of development as captured in the Millennium Development Goals (MDGs). It is a pleasant mode of conveying serious messages that can stick in the public mind because of linking to a tune. Music is also an effective tool for social integration. Music performance involves people coming together and it creates cohesion thereby enabling the development of relationships. The music industry is an important source of employment and wealth creation. The Industry has opened up employment opportunities for people of all ages and backgrounds, further confirming music s empowering role and capacity. The employment opportunities are largely found in song writing, playing instruments, singing, dancing, retailing, promotion, recording, production, instruction, hospitality industry and religious bodies among others. Through music, substantial revenues are collected thereby adding to the national tax base. In 5
6 line with the poverty reduction strategy, the Government is committed to support, promote, and motivate professionals in the Music Industry. Women play a key role in all sectors of economy. The music industry avails equal opportunities for equal participation by both women and men. To this end the Government is committed to ensuring that both men and women participate and benefit equally in the music sector and that they receive appropriate recognition and treatment. The youth, who comprise a large percentage of the population, are a major driving force in the music industry. It is imperative that their energies and creative efforts be geared towards making music profitable and beneficial. The country s population comprises persons with diverse abilities. Participation in music is a right that each and every Kenyan ought to enjoy. The Government is committed to ensuring that persons with special needs actively participate in the music sector through provision of equal opportunities in education, performance and employment. Prevailing Arts Education Conditions Looking back into the history of Kenya, the Ominde Report (1964) recommended the use of traditional artistic resources to be used in schools as teaching and learning resources. This was in the hope that highly trained musicians could recreate traditional material in ways that could have permanent aesthetic importance for the African pupils. Prior to 1967, there were four distinct education syllabi used in Kenyan primary schools. These were; a) European b) Asian c) Arabic and d) African syllabi. All these accommodated the musics of the respective cultures and were applied to pupils from those cultural backgrounds. In 1967 the four syllabi were merged and called Primary School Syllabus. There was an attempt to introduce music as a subject in schools that were formerly African but its content was biased towards Western Music and it required teachers to use books and read music notation, a practice for which most teachers had no prior training. To counter this development, a new syllabus was drafted in 1974, the Creative Arts Project which emphasized on music literacy as well as a call for concentration on traditional music, both vocal and instrumental within the stated objectives. This confirms that there were deliberate attempts in the past to include music education in the system but the situation now is different. The prevailing arts education conditions in Kenya are grossly sub-optimal. A policy on Technical and Vocational Education and Training (TVET) by the Ministry of Education, Science and Technology (MOEST) provides a framework for training and developing skilled manpower required by the country. The TVET sector seeks to address the large number of young people graduating from secondary schools and high levels of poverty. The sector recognises the need to match training skills with actual demands of the industry and to create a deliberate link between TVET curriculum and the aspirations of Vision Despite music being significantly technical and vocational, it does not appear to have found footing in these provisions. There is failure in recognising that the music industry in Kenya is vibrant and that the Kenyan economy could be boosted significantly if investments were made by training musicians in this area. 6
7 Musanga (2014), commenting in a local newspaper, was concerned that the Kenya Music Festival was losing its appeal. This is an event organised annually by the Ministry of Education and it brings together pupils and students from all parts of the country to perform various songs and dances from different cultural communities. The writer questions the tangible benefits that the students derive from such events. Musanga (2014) notes that: The event has been reduced to an annual ritual full of glitz, pomp and glamour meant to entertain politicians, guests and senior education officials. It has become a form of holiday. But is this event a means to an end or an end in itself? After performing at the music fete what happens next to the performers? For secondary school students, the basic goal of performing, according to Abeles et al (1994) is the learning of music. The big question is whether students who participate in this festival gain any music knowledge as a result of their participation. Evidently, they do not because most of the music they perform is learnt by rote and in many schools music is not offered as a subject. What is documented in the media gives an impression that arts education is not fully supported by the government and no action has been taken to consciously support arts education in the country. It is important to note here that, since research authorization permit is granted by government, with whom research documentation must be filed, the research output is broadly available to the ministry, and this incudes arts education research. The findings and recommendations are further available in libraries of the hosting university. Despite the numerous researches on arts education that have been carried out, there really has not been a positive impact on the practice due to limited dissemination and application of the results. In the same vein, students taking a Bachelor of Education Degree at some universities are required to take music and one other teaching subject due to the requirements given by Teachers Service Commission (TSC), the government body that employs teachers, that each employee posts two teaching subjects. In the past, students would take courses in Music and Education only. This changed with the new requirement whose impact was felt significantly in This has deprived the students of adequate skills and knowledge in music that they need to become effective practitioner-educators. It is clear that those who effected the change do not understand the fundamental nature of the art of music. Conclusion Many recommendations have been made with regard to research in music education. Researchers have made suggestions on how music teaching and learning ought to be carried out, what methodologies are suitable for the same and additional and available resources that can be used, among other recommendations. These documents are housed in different places, for example in libraries, resources rooms of different departments and at the Graduate Schools of various institutions. No government agencies are mandated to apply the results of any research, least of all music research in order to develop our country. 7
8 Zakaras and Lowell (2008) have outlined the concept of supply, access and demand with regard to arts education which functions in this way: i) Supply: This is supported by artists, universities and other institutions where they are trained, performing groups, recording and publishing companies and many others who are involved in the display and dissemination of art works; ii) Access: This is supported by individuals or institutions which encourage people to engage with the arts. These include music educators at all levels, parents (who encourage and pay for their children to pursue music privately), mentors and many others; iii) Demand: This involves empowering people with skills and knowledge they require to have deep and meaningful encounters with works of art. These encounters should be rich enough to motivate them to go back for more. In Kenya there seems to be a weak link in the chain between access and demand. For one to have a deep encounter and gain that aesthetic experience, he/she needs to acquire music skills and knowledge in order to engage with music with understanding. A majority of the Kenyan population have not been empowered in this manner. There is, therefore, a need to empower people with this knowledge so they will be able to understand and appreciate and participate in a variety of musical forms as art. Perhaps this could ignite an interest in arts education, especially for decision makers who would accept and endorse the implementation of arts education research so that there can be a more positive impact of research in arts education in general. There is need to involve arts education experts and arts policy makers in discussions about arts education since these provide a means of exploring our cultural identity and also play a central role in the cultural industries where they contribute significantly to economic growth. References Abeles, H.A, Hoffer, C.F and Klotman, R.H (1984) Foundations of Music Education. New York. Macmillan Publishing Company Achola, M. D. A (2007) The Role of Technology in Music Education: a survey of computer usage in secondary schools in Nairobi Province, Kenya. Master of Music Education Thesis, Kenyatta University Akuno, E. A. (1997). The Use of Indigenous Kenyan Children s Songs for the Development of a Primary School Music Curriculum in Kenya. PhD Thesis, Kingston-Upon-Thames: Kingston University Amateshe, M (2012) Rap Music in the Hip Hop Culture among the Youth in Nairobi, Unpublished PhD Thesis, Kenyatta University Amateshe, M (2002) Music of Two Generations; A Survey of Performance Practice and Aesthetics on Selected Performers, Unpublished M.A Thesis, Kenyatta University Andang o E. A. (2009) Music in Early Childhood Education: Development of a Multi-cultural music Education programme Unpublished PhD Thesis, Nairobi: Kenyatta University Andang o, E.J.A (2000) Voice Tuition: A Study of Music Students Learning Experiences, Expectations and Performance at Kenyatta University, Unpublished M.A Thesis 8
9 Barone, T. and Eisner, E. (2006) Arts-Based Educational Research in Handbook of Complementary Methods in Education Research, Green, J.L, Camilli, G and Elmore P.B (eds.) American Educational Research Association (AERA). Washington D.C pp Bebey, F. (1975) African Music. A People s Art.Trans.J. Benner. London. Harrap Digolo, B.A.O (1997). Availability and use of teaching and learning Resources for Music Education in Kenya: A survey of secondary schools in Nairobi Province. Unpublished MA Thesis, Kenyatta University Durrant, C. and Welch, G. (1995)Making Sense of Music: Foundations For Music Education. New York. Harper Collins Publishers, Inc. Elliot, D. J. (1995) Music Matters: A New Philosophy of Musical Education. New York. Oxford University Press. Hallam, S (2001) The Power of Music: The Strength of Music s Influence in our Lives. music.co.uk Hoskyns, J.(1996) Music Education in an European Dimension in Teaching Music. Gary Spruce (Ed.), London, Routledge 11 New Fetter Lane. Leonhard C. and House R.W (1972) Foundations and Principles of Music Education.New York. McGraw Hill, Book Company. Kahindi, A. (2000) Factors Affecting Instrumental Music Tuition in Kenyan Secondary Schools, Unpublished M.A Thesis, Kenyatta University Kilonzi, L.A (1992) Dance Step and Movement, Unpublished M.A Thesis, Kenyatta University Mbeche, C.G (2010) Developing Strategies for Teaching Aural Musicianship for Secondary Schools in Kenya, Unpublished PhD Thesis, Kenyatta University Mbeche, C.G (2000) Factors Affecting Student Performance of Aurals at KCSE, Unpublished M.A Thesis Monte, P. E. (2009) Instructional Delivery in Music: The Role of teachers Competence in the Development of Learning. MME thesis, KU Mushira, E.N (2000) Factors Affecting the Instruction of Kenyan Indigenous Music: A Survey of Nairobi Secondary Schools, Unpublished M.A Thesis Mushira, E.N (2010) A Critical Analysis of Kenyan Indigenous Music Procedures: Developing the Embedded Pathway Approach Model for Interactive Learning for Secondary Schools in Kenya Mugambi, N. (2001) Rap Music made in Nairobi: How Kenyan is it? MA Project. Kenyatta University Musanga, C (2014) Kenya s Music Festival Losing its Appeal, Standard Newspaper, Tuesday, August 12 th 2014 p Musungu, G (1999) Samia Afro-Classics: A Creative Composition. Unpublished M.A Thesis, Kenyatta University Musungu, G (2010) Elements of Cross-Cultural Music Composition: The Creation of Esidialo, s Samia Marriage Suite, Unpublished PhD Thesis, UNISA Mwangi, S. (2000) Availability and Utilisation of Instructional Resources for the Teaching of Music in Selected Primary Teachers' Training Colleges in Kenya. M.Ed Thesis, Kenyatta University. Njui, H.W (1989) A Study of the Effect of Immediate Feedback on the Teaching Behaviour Patterns of Secondary School Music Teachers, Unpublished M.A Thesis Nketia, J.H.K (1975) The Music of Africa. London. Victor Gollancz Limited. Nyakiti, E. (2004) Wend Masira: an Analysis of Luo Funeral Songs' MA Thesis, Kenyatta University. Obaga, A. O. (2004) Musical Composition: Merger of Indigenous Abagusii and Western Musical Idioms. Unpublished MA Thesis. Kenyatta University. Ominde (1964) Kenya Education Commission Report. Otoyo, D (2010) An Analysis of Zililzopendwa for the Development of Instructional materials for Music Education, Unpublished PhD Thesis, Kenyatta University Swanwick, K. and Taylor, D. (1982) Discovering Music: Developing the Music Curriculum in Secondary Schools. London, Batsford Academic and Educational Limited. Zakaras L and Lowell, J.F (2006) Cultivating Demand for the Arts: Arts Learning, Arts Engagement and State Arts Policy. A Research commissioned by RAND (Research in the Arts) and The Wallace Foundation 9
10 Zake, G.S. (1986). Folk Music of Kenya. Nairobi: Uzima Press 10
11 11
FACTORS CONTRIBUTING TO THE PERFORMANCE OF MUSIC STUDENTS IN SECONDARY SCHOOLS IN NAIROBI COUNTY, KENYA
FACTORS CONTRIBUTING TO THE PERFORMANCE OF MUSIC STUDENTS IN SECONDARY SCHOOLS IN NAIROBI COUNTY, KENYA Joyce M. Mochere P.O.BOX 7307-00300 Nairobi, Kenya ABSTRACT: In teaching music, the teachers ought
More informationDifferentiated Approaches to Aural Acuity Development: A Case of a Secondary School in Kiambu County, Kenya
Differentiated Approaches to Aural Acuity Development: A Case of a Secondary School in Kiambu County, Kenya Muya Francis Kihoro Mount Kenya University, Nairobi, Kenya. E-mail: kihoromuya@hotmail.com DOI:
More informationAgreed key principles, observation questions and Ofsted grade descriptors for formal learning
Barnsley Music Education Hub Quality Assurance Framework Agreed key principles, observation questions and Ofsted grade descriptors for formal learning Formal Learning opportunities includes: KS1 Musicianship
More informationGeneral Standards for Professional Baccalaureate Degrees in Music
Music Study, Mobility, and Accountability Project General Standards for Professional Baccalaureate Degrees in Music Excerpts from the National Association of Schools of Music Handbook 2005-2006 PLEASE
More informationFilm & Media. encouraged, supported and developed, and artists and filmmakers should be empowered to take risks.
Film & Media Film & Media Film and television are powerful and universal media capturing the imagination, and stirring the heart. They can leave lasting impressions, create deep memories, present powerful
More informationREPORT FOR SEMPRE TRUSTEES STEPHANIE DONALDSON, RECIPIENT OF THE GERRY FARRELL TRAVELLING SCHOLARSHIP 2010
REPORT FOR SEMPRE TRUSTEES STEPHANIE DONALDSON, RECIPIENT OF THE GERRY FARRELL TRAVELLING SCHOLARSHIP 2010 I have had an immensely interesting, productive and enjoyable four months in Kenya. Through my
More informationDUNGOG HIGH SCHOOL CREATIVE ARTS
DUNGOG HIGH SCHOOL CREATIVE ARTS SENIOR HANDBOOK HSC Music 1 2013 NAME: CLASS: CONTENTS 1. Assessment schedule 2. Topics / Scope and Sequence 3. Course Structure 4. Contexts 5. Objectives and Outcomes
More informationArrangements for: National Progression Award in. Music Performing (SCQF level 6) Group Award Code: G9L6 46. Validation date: November 2009
Arrangements for: National Progression Award in Music Performing (SCQF level 6) Group Award Code: G9L6 46 Validation date: November 2009 Date of original publication: January 2010 Version 02 (September
More informationThe Netherlands Institute for Social Research (2016), Sport and Culture patterns in interest and participation
Singing, how important! - Collective singing manifesto 2020 Introduction 23% of Dutch people sing 1. Over 13,000 choirs are registered throughout the entire country 2. Over 10% of the population sing in
More informationMANOR ROAD PRIMARY SCHOOL
MANOR ROAD PRIMARY SCHOOL MUSIC POLICY May 2011 Manor Road Primary School Music Policy INTRODUCTION This policy reflects the school values and philosophy in relation to the teaching and learning of Music.
More informationMusical talent: conceptualisation, identification and development
Musical talent: conceptualisation, identification and development Musical ability The concept of musical ability has a long history. Tests were developed to assess it. These focused on aural skills. Performance
More informationMusical Futures: A case study investigation. Final report from. Institute of Education University of London. for the. Paul Hamlyn Foundation
Musical Futures: A case study investigation Final report from Institute of Education University of London for the Paul Hamlyn Foundation October 2011 Professor Susan Hallam Dr Andrea Creech Dr Hilary McQueen
More informationSIBELIUS ACADEMY, UNIARTS. BACHELOR OF GLOBAL MUSIC 180 cr
SIBELIUS ACADEMY, UNIARTS BACHELOR OF GLOBAL MUSIC 180 cr Curriculum The Bachelor of Global Music programme embraces cultural diversity and aims to train multi-skilled, innovative musicians and educators
More informationCROATIA: COMMENTS ON THE NATIONAL CORE CURRICULUM FOR THE TEACHING SUBJECT OF MUSIC
1 CROATIA: COMMENTS ON THE NATIONAL CORE CURRICULUM FOR THE TEACHING SUBJECT OF MUSIC By Eija Kauppinen, Finnish National Agency for Education The draft of Croatian music curriculum has been drawn up carefully
More informationWIDER ISSUES FACING THE SOUTH AFRICAN AUDIOVISUAL AND CINEMA INDUSTRY Presented by: Adwoa Ankoma Legal, Policy and Compliance Officer National Film &
WIDER ISSUES FACING THE SOUTH AFRICAN AUDIOVISUAL AND CINEMA INDUSTRY Presented by: Adwoa Ankoma Legal, Policy and Compliance Officer National Film & Video Foundation CONTENTS 1. Background 1.1 South Africa
More informationSyllabus for Music Secondary cycle (S1-S5)
Schola Europaea Office of the Secretary-General Pedagogical Development Unit Ref: 2017-01-D-60-en-3 Orig.: EN Syllabus for Music Secondary cycle (S1-S5) APPROVED BY THE JOINT TEACHING COMMITTEE ON 9 AND
More informationInstitutes of Technology: Frequently Asked Questions
Institutes of Technology: Frequently Asked Questions SCOPE Why are IoTs needed? We are supporting the creation of prestigious new Institutes of Technology (IoTs) to increase the supply of the higher-level
More informationBBC Fair Trading: BBC Studios use of BBC Brand
BBC Fair Trading: BBC Studios use of BBC Brand 30 April 2018 V2 1 BBC Studios use of the BBC Brand (1) Background and Introduction Following the merger in April 2018 of the BBC s commercial production
More informationAustralian Broadcasting Corporation. Screen Australia s. Funding Australian Content on Small Screens : A Draft Blueprint
Australian Broadcasting Corporation submission to Screen Australia s Funding Australian Content on Small Screens : A Draft Blueprint January 2011 ABC submission to Screen Australia s Funding Australian
More informationArrangements for: SQA Advanced Certificate in Musical Theatre. at SCQF level 7. Group Award Code: GP2P 47. Date of publication: August 2018
Arrangements for: SQA Advanced Certificate in Musical Theatre at SCQF level 7 Group Award Code: GP2P 47 Date of publication: August 2018 Version: 01 History of changes It is anticipated that changes will
More informationTorture Journal: Journal on Rehabilitation of Torture Victims and Prevention of torture
Torture Journal: Journal on Rehabilitation of Torture Victims and Prevention of torture Guidelines for authors Editorial policy - general There is growing awareness of the need to explore optimal remedies
More informationFolk music. Unofficial translation from the original Finnish document. Master of music 150 cr 2.5-year degree programme
Unofficial translation from the original Finnish document Folk music Master of music 150 cr 2.5-year degree programme UNIT DESCRIPTIONS: MASTER OF MUSIC... 3 Instrument and ensemble skills 3 7pm1- Main
More informationAcademic Program Review Report: Highlights School of Music July 2011
Academic Program Review Report: Highlights School of Music July 2011 The School of Music at the University of Kansas offers an array of degree programs at the bachelor s, master s, and doctoral levels.
More informationDigilogue Zone: Indigenous and Contemporary Media and Technology in Higher Music Education in Kenya
Action, Criticism, and Theory for Music Education April 2018. Vol 17 (1): 81 Digilogue Zone: Indigenous and Contemporary Media and Technology in Higher Music Education in Kenya Emily Achieng Akuno Technical
More informationPublished online: 18 Aug 2015.
This article was downloaded by: [Kenyatta University] On: 02 September 2015, At: 04:47 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick
More information6 th Grade Instrumental Music Curriculum Essentials Document
6 th Grade Instrumental Curriculum Essentials Document Boulder Valley School District Department of Curriculum and Instruction August 2011 1 Introduction The Boulder Valley Curriculum provides the foundation
More informationWhaplode (Church of England) Primary School Mill Lane, Whaplode, Spalding, Lincolnshire PE12 6TS. Phone:/Fax:
Whaplode (Church of England) Primary School Mill Lane, Whaplode, Spalding, Lincolnshire PE12 6TS Phone:/Fax: 01406 370447 Executive Head Teacher: Mrs A Flack http://www.whaplodeprimary.co.uk Spirituality
More informationTHEATRE DIRECTOR, Beck Theatre
THEATRE DIRECTOR, Beck Theatre JOB DESCRIPTION HQ Theatres & Hospitality (HQT&H), the venue management division of the Qdos Entertainment Group, is the UK s second largest theatre operator, with a portfolio
More informationMUSIC Advanced Higher
MUSIC Advanced Higher Third edition published March 2002 NOTE OF CHANGES TO ADVANCED HIGHER ARRANGEMENTS THIRD EDITION PUBLISHED MARCH 2002 COURSE TITLE: COURSE NUMBERS AND TTILES FOR ENTRY TO COURSES:
More informationPERFORMING ARTS. Year 7-10 Performing Arts VCE Drama VCE Music Performance Technical Production Certificate III (VET)
PERFORMING ARTS Year 7-10 Performing Arts VCE Drama VCE Music Performance Technical Production Certificate III (VET) YEAR 7 & 8 THE PERFORMING ARTS The role of the Arts is to develop an appreciation of
More informationInstrumental Music Curriculum
Instrumental Music Curriculum Instrumental Music Course Overview Course Description Topics at a Glance The Instrumental Music Program is designed to extend the boundaries of the gifted student beyond the
More informationYears 10 band plan Australian Curriculum: Music
This band plan has been developed in consultation with the Curriculum into the Classroom (C2C) project team. School name: Australian Curriculum: The Arts Band: Years 9 10 Arts subject: Music Identify curriculum
More informationAction, Criticism & Theory for Music Education
Action, Criticism & Theory for Music Education The refereed journal of the Volume 9, No. 2 September 2010 Wayne Bowman Editor Electronic Article Identity in Music: Adolescents and the Music Classroom J.
More informationVCASS MUSIC CURRICULUM HANDBOOK
VCASS MUSIC CURRICULUM HANDBOOK Victoria s Premier School for the Training and Education of Talented Young Dancers, Musicians, Theatre and Visual Artists 2017 COURSE CONTENT MUSIC PROGRAM YEARS 7, 8 &
More informationCollege of MUSIC. James Forger, DEAN UNDERGRADUATE PROGRAMS. Admission as a Junior to the College of Music
College of MUSIC James Forger, DEAN The College of Music offers undergraduate programs leading to the degrees of Bachelor of Music and Bachelor of Arts, and graduate programs leading to the degrees of
More informationFilm, governance and society
Public Administration International Film, governance and society Funding, classification and promotion BRITISH ACCREDITATION COUNCIL ACCREDITED SHORT COURSE PROVIDER 29 June to 3 July 2015 PAI is accredited
More informationSpecification MUSIC BTEC FIRST. From September Certificate Extended Certificate Diploma
BTEC FIRST Certificate Extended Certificate Diploma Specification MUSIC From September 2018 BTEC Level 1/Level 2 First Certificate in Music BTEC Level 1/Level 2 First Extended Certificate in Music BTEC
More informationMaster of Arts in Leadership: Modern Music. Master of Arts in Leadership: Music Production
MASTER OF ARTS IN LEADERSHIP (2-YEAR PLAN) Master of Arts in Leadership: Modern Music MUS5133 Church Music Administration 3 MUS5313 Applied Leadership: Music Theory 3 Semester Hour Total 6 Semester Hour
More informationMusic. educators feedback
Music educators feedback Number of respondents Education Officers 0 Head / Assistant Head of school / Deputy Heads 0 Head Of Departments 0 Inculsion Coordinators 0 Learning Support Assistants 0 Other 0
More informationI thought it would be useful to append a list of our main points from Wednesday s meeting on the next page.
Independent Producers Scotland Film City Glasgow 401 Govan Road GLASGOW G51 2QJ Friday 23 rd January 2015 Dear Members of Economy, Energy and Tourism Committee, Thank you for taking notice of the state
More informationMusic Policy Music Policy
Music Policy 2018 Hawthorn Tree School Music Policy Aims and Objectives Music is a unique way of communicating that can inspire and motivate children. It is a vehicle for personal expression and it can
More informationThe ABC and the changing media landscape
The ABC and the changing media landscape 1 THE ABC AND THE MEDIA LANDSCAPE The Australian media is and always has been characterised by a mix of publicly-funded broadcasters and commercial media operators.
More informationDECIDING WHAT KEY STAGE 3 MUSIC TEACHERS WANT TO ASSESS AND HOW
Introduction Assessment of musical learning and progression is an enormous and current issue for all secondary music teachers. In numerous reports Ofsted have commented on issues surrounding assessment
More informationSt Andrew s CE Primary School Music Policy
St Andrew s CE Primary School Music Policy St Andrew s CE Primary School Music Policy The New Curriculum (2016 and beyond) Summer 2018 1) Aims and objectives Music is a unique way of communicating that
More informationHigher Education Research Data Collection (HERDC): Publications issues paper
Higher Education Research Data Collection (HERDC): Publications issues paper February 2013 Contents Higher Education Research Data Collection (HERDC):... 1 Purpose... 3 Setting the scene... 3 Consultative
More informationArrangements for: National Certificate in Music. at SCQF level 5. Group Award Code: GF8A 45. Validation date: June 2012
Arrangements for: National Certificate in Music at SCQF level 5 Group Award Code: GF8A 45 Validation date: June 2012 Date of original publication: December 2012 Version: 4 (December 2017) Acknowledgement
More informationGRIFFITHSTOWN PRIMARY SCHOOL
GRIFFITHSTOWN PRIMARY SCHOOL Title Music Policy Date Spring 2015 Author GRIFFITHSTOWN PRIMARY SCHOOL Music Policy 2015 1. What is Music at Griffithstown Primary? In music, pupils at Griffithstown Primary
More informationEuropean Agenda for Music: AEC, EAS and EMU members Feedback Joint Overview
European Agenda for Music:, and members Feedback Joint Overview FUlfiLLing the Skills, COmpetences and know-how Requirements of cultural and creative players in the European music sector Introduction The
More informationCertificate III in Media (CUF30107)
Certificate III in Media (CUF30107) Digital Media Program INFORMATION BOOKLET 2013 EduPro Australia Pty Ltd trading as Queensland School of Film and Television A.B.N. 28 139 823 733 Provider No: 32265
More informationCOMMUNICATIONS OUTLOOK 1999
OCDE OECD ORGANISATION DE COOPÉRATION ET ORGANISATION FOR ECONOMIC DE DÉVELOPPEMENT ÉCONOMIQUES CO-OPERATION AND DEVELOPMENT COMMUNICATIONS OUTLOOK 1999 BROADCASTING: Regulatory Issues Country: Germany
More informationMUSIC ASSESSMENT SYLLABUS
Botswana Examinations Council Private Bag 7 Gaborone Plot: 54864 Western Bypass Tel: 184765/ 657 Fax: 164/ 18511 Email: enquiries@bec.co.bw JCE Music Assessment Syllabus Page 1 BEC 1 Botswana Examinations
More informationWalworth Primary School
Walworth Primary School Music Policy 2017-2018 Date: REVIEWED April 2017 Revision Due: March 2018 Ref: Mr Cooke Approved By: The Governing Body Why do we teach Music at Walworth School? 2 Music Policy
More informationNATIONAL DIPLOMA: VOCAL ART: PERFORMANCE Qualification code: NDVF04 - NQF Level 6
NATIONAL DIPLOMA: VOCAL ART: PERFORMANCE Qualification code: NDVF04 - NQF Level 6 Campus where offered: Arts Campus Important notification to new applicants: Students who intend to enrol for this qualification
More informationSound Connections Case study. Bexley North Borough Orchestra London Symphony Orchestra
Sound Connections Case study Bexley North Borough Orchestra 2015-16 London Symphony Orchestra Written by Philip Chandler March 2016 It makes me feel proud and when I perform. Christabel, Year 5 pupil Summary
More informationMusic in Practice SAS 2015
Sample unit of work Contemporary music The sample unit of work provides teaching strategies and learning experiences that facilitate students demonstration of the dimensions and objectives of Music in
More informationLiterature 2019 v1.2. General Senior Syllabus. This syllabus is for implementation with Year 11 students in 2019.
This syllabus is for implementation with Year 11 students in 2019. 170080 Contents 1 Course overview 1 1.1 Introduction... 1 1.1.1 Rationale... 1 1.1.2 Learning area structure... 2 1.1.3 Course structure...
More informationEnglish 2019 v1.3. General Senior Syllabus. This syllabus is for implementation with Year 11 students in 2019.
This syllabus is for implementation with Year 11 students in 2019. 170082 Contents 1 Course overview 1 1.1 Introduction... 1 1.1.1 Rationale... 1 1.1.2 Learning area structure... 2 1.1.3 Course structure...
More informationCurriculum Development Project
1 Kamen Nikolov EDCT 585 Dr. Perry Marker Fall 2003 Curriculum Development Project For my Curriculum Development Project, I am going to devise a curriculum which will be based on change and globalization
More informationHumanities Learning Outcomes
University Major/Dept Learning Outcome Source Creative Writing The undergraduate degree in creative writing emphasizes knowledge and awareness of: literary works, including the genres of fiction, poetry,
More informationPGDE (PRIMARY) THE TEACHING OF MUSIC
PGDE (PRIMARY) THE TEACHING OF MUSIC CONTENTS 1. Overview of The Curriculum Structure of PGDE Programme 2. The Teaching of Music Programme 3. VPA Music Facilities & Student Teachers in Action 4. PGDE (Primary
More informationDesigning Music Teacher Competences in the European Qualifications Framework
Available online at www.sciencedirect.com Procedia - Social and Behavioral Scien ce s 83 ( 2013 ) 180 184 2 nd World Conference on Educational Technology Researches WCETR2012 Designing Music Teacher Competences
More informationCAMELSDALE PRIMARY SCHOOL MUSIC POLICY
The Contribution of Music to the whole curriculum CAMELSDALE PRIMARY SCHOOL MUSIC POLICY Music is a fundamental feature of human existence; it is found in all societies, throughout history and across the
More informationBROADCASTING REFORM. Productivity Commission, Broadcasting Report No. 11, Aus Info, Canberra, Reviewed by Carolyn Lidgerwood.
Reviews BROADCASTING REFORM Productivity Commission, Broadcasting Report No. 11, Aus Info, Canberra, 2000 Reviewed by Carolyn Lidgerwood When it was announced in early 1999 that the Federal Treasurer had
More informationCOMMUNICATIONS OUTLOOK 1999
OCDE OECD ORGANISATION DE COOPÉRATION ET ORGANISATION FOR ECONOMIC DE DÉVELOPPEMENT ÉCONOMIQUES CO-OPERATION AND DEVELOPMENT COMMUNICATIONS OUTLOOK 1999 BROADCASTING: Regulatory Issues Country: Denmark
More informationKEY DIFFERENTIATORS MUSIC AS SOCIAL-LEARNING THE UNIFYING PURPOSE INTENSIVE SOCIAL ACTION PROGRAM - AFTER-HOURS
The Symphony For Life Program is very different from conventional music education, and very different from other social change programs for children. The fact that it is both, is in itself a key differentiator.
More informationPost of THEATRE DIRECTOR, Swindon Theatres
Post of THEATRE DIRECTOR, Swindon Theatres JOB DESCRIPTION HQ Theatres & Hospitality (HQT&H), the venue management division of the Qdos Entertainment Group, is the UK s second largest theatre operator,
More informationHeadteachers perspectives on the In Harmony programme. National Foundation for Educational Research (NFER)
Headteachers perspectives on the In Harmony programme National Foundation for Educational Research (NFER) 1 Introduction Headteachers perspectives on the In Harmony programme This paper provides an overview
More informationDEPARTMENT OF M.A. ENGLISH Programme Specific Outcomes of M.A Programme of English Language & Literature
ST JOSEPH S COLLEGE FOR WOMEN (AUTONOMOUS) VISAKHAPATNAM DEPARTMENT OF M.A. ENGLISH Programme Specific Outcomes of M.A Programme of English Language & Literature Students after Post graduating with the
More informationA quality framework for use in music-making sessions working with young people in SEN/D settings.
A quality framework for use in music-making sessions working with young people in SEN/D settings.... Do... w e i v Re... e v o r p Im Youth Music with additional content by Drake Music A quality framework
More informationCollege of MUSIC. James Forger, DEAN UNDERGRADUATE PROGRAMS. Admission as a Junior to the College of Music
College of MUSIC James Forger, DEAN The College of Music offers undergraduate programs leading to the degrees of Bachelor of Music and Bachelor of Arts, and graduate programs leading to the degrees of
More informationProgramme Specification
Programme Specification Title: English Final Award: Bachelor of Arts with Honours (BA (Hons)) With Exit Awards at: Certificate of Higher Education (CertHE) Diploma of Higher Education (DipHE) Bachelor
More informationPublishing India Group
Journal published by Publishing India Group wish to state, following: - 1. Peer review and Publication policy 2. Ethics policy for Journal Publication 3. Duties of Authors 4. Duties of Editor 5. Duties
More informationArrangements for: National Progression Award in. Music Business (SCQF level 6) Group Award Code: G9KN 46. Validation date: November 2009
Arrangements for: National Progression Award in Music Business (SCQF level 6) Group Award Code: G9KN 46 Validation date: November 2009 Date of original publication: January 2010 Version: 03 (August 2011)
More informationArrangements for: National Progression Award in Contemporary Gaelic Songwriting and Production. at SCQF level 5. Group Award Code: GC7Y 45
Arrangements for: National Progression Award in Contemporary Gaelic Songwriting and Production at SCQF level 5 Group Award Code: GC7Y 45 Validation date: June 2011 Date of original publication: June 2011
More informationAN INTRODUCTION TO LITERATURE AND LITERARY CRITICISM
AN INTRODUCTION TO LITERATURE AND LITERARY CRITICISM TOPIC I: INTRODUCING LITERATURE: DEFINITIONS AND FORMS STUDY NOTES INTRODUCTION In this course you will be introduced to the world of literature. As
More informationSt Laurence Catholic Primary School. Music Policy. April Through God s grace, a community growing in. knowledge and understanding
St Laurence Catholic Primary School Music Policy April 2013 Through God s grace, a community growing in knowledge and understanding Music is a powerful, unique form of communication that can change the
More informationFrom Concept to Delivery INSTITUTES OF TECHNOLOGY A COLLAB GROUP POINT OF VIEW JANUARY 2017
INSTITUTES OF TECHNOLOGY From Concept to Delivery JANUARY 2017 A COLLAB GROUP POINT OF VIEW Contents SECTION PAGE 0. Executive Summary 1. Why are IoTs Needed? 1.1 The Economic and Political Context 1.2
More informationMethodology Primary Level 2
Methodology Primary Level 2 Lecturer: To be confirmed. Overview: Methodology involves the application of Kodaly s principles to the development of classroom teaching programmes that are suitable for Australian
More informationNational Core Arts Standards in the Music Classroom
Midwest International Band and Orchestra Clinic 67 th Annual Conference McCormick Place West Chicago National Core Arts Standards in the Music Classroom Focus: Instrumental/Ensemble Classrooms Elizabeth
More informationPROGRAMME SPECIFICATION FOR M.ST. IN FILM AESTHETICS. 1. Awarding institution/body University of Oxford. 2. Teaching institution University of Oxford
PROGRAMME SPECIFICATION FOR M.ST. IN FILM AESTHETICS 1. Awarding institution/body University of Oxford 2. Teaching institution University of Oxford 3. Programme accredited by n/a 4. Final award Master
More informationWriting and Developing a Successful Book
Writing and Developing a Successful Book Tim Pitts email; tim.pitts@elsevier.com Senior Acquisitions Editor, Electronic Engineering, Computer Vision and Medical Imaging. September 2017 2 Agenda Give examples
More informationWRoCAH White Rose NETWORK Expressive nonverbal communication in ensemble performance
Applications are invited for three fully-funded doctoral research studentships in a new Research Network funded by the White Rose College of the Arts & Humanities. WRoCAH White Rose NETWORK Expressive
More informationCOURSE OUTLINE DP LANGUAGE & LITERATURE
COURSE OUTLINE DP LANGUAGE & LITERATURE Course Description: English A: Language and Literature is a two-year course that focuses on the study and appreciation of language and literature across our culture
More informationHouse of Lords Select Committee on Communications
House of Lords Select Committee on Communications Inquiry into the Sustainability of Channel 4 Submission from Ben Roberts, Director BFI Film Fund on behalf of the British Film Institute Summary 1. In
More informationProgramme Specification
Programme Specification I. Programme Details Programme title Music & [ ] Possible combinations African Studies Arabic Burmese Chinese Development Studies Hebrew History History of Art/Archaeology Indonesia
More informationChannel 4 submission to the BBC Trust s review of BBC services for younger audiences
Channel 4 submission to the BBC Trust s review of BBC services for younger audiences 1. Channel 4 welcomes the opportunity to provide its views to the BBC Trust s review of BBC services for younger audiences.
More informationPreserving Digital Memory at the National Archives and Records Administration of the U.S.
Preserving Digital Memory at the National Archives and Records Administration of the U.S. Kenneth Thibodeau Workshop on Conservation of Digital Memories Second National Conference on Archives, Bologna,
More informationAMTA Advanced Competencies Preamble The American Music Therapy Association has established competency-based standards for ensuring the quality of education and clinical training in the field of music therapy.
More informationIntroducing Andy Gleadhill s Music CPD Training
Introducing Andy Gleadhill s Music CPD Training World Class Teacher Training for Music Specialists and Generalist Teachers Introduction Andy Gleadhill is an internationally acknowledged expert in Music
More informationAuthor Directions: Navigating your success from PhD to Book
Author Directions: Navigating your success from PhD to Book SNAPSHOT 5 Key Tips for Turning your PhD into a Successful Monograph Introduction Some PhD theses make for excellent books, allowing for the
More informationBrief for: Commercial Communications in Commercial Programming
Brief for: Commercial Communications in Commercial Programming October 2010 1 ABOUT UK MUSIC UK Music is the umbrella organisation which represents the collective interests of the UK s commercial music
More informationWarwickshire Music Whole Class Ensemble Programme for Primary Schools
Warwickshire Music Whole Class Ensemble Programme for Primary Schools 2017-18 I am thrilled by the partnership and support from Warwickshire Music here at Wembrook Primary School. The quality of their
More informationSubmission to Inquiry into subscription television broadcasting services in South Africa. From Cape Town TV
Submission to Inquiry into subscription television broadcasting services in South Africa From Cape Town TV 1 1. Introduction 1.1 Cape Town TV submits this document in response to the invitation by ICASA
More informationAUSTRALIAN SUBSCRIPTION TELEVISION AND RADIO ASSOCIATION
7 December 2015 Intellectual Property Arrangements Inquiry Productivity Commission GPO Box 1428 CANBERRA CITY ACT 2601 By email: intellectual.property@pc.gov.au Dear Sir/Madam The Australian Subscription
More informationMethodology Primary Level 1
Methodology Primary Level 1 Lecturer: Kate Thompson Overview: Methodology involves the application of Kodaly s principles to the development of classroom teaching programmes that are suitable for Australian
More informationThe Telecommunications Act Chap. 47:31
The Telecommunications Act Chap. 47:31 4 th September 2013 Presentation Overview Legislative Mandate Limitations of Telecommunications Act Proposed Amendments to Telecommunications Act New Technological
More informationMUSIC KEY STAGE 3 YEAR 7
MUSIC KEY STAGE 3 The music syllabus is designed to provide a course of study which will allow every child to develop a greater understanding of music through direct experience and participation in performing
More informationCity of Kingston Report to Council Report Number
City of Kingston Report to Council Report Number 18-089 To: From: Resource Staff: Date of Meeting: Subject: Executive Summary Mayor and Members of Council Lanie Hurdle, Commissioner, Community Services
More informationPERFORMING ARTS. Unit 29 Musicianship Suite. Cambridge TECHNICALS LEVEL 3. F/507/6840 Guided learning hours: 60. ocr.org.
2016 Suite Cambridge TECHNICALS LEVEL 3 PERFORMING ARTS Unit 29 Musicianship F/507/6840 Guided learning hours: 60 Version 1 September 2015 ocr.org.uk/performingarts LEVEL 3 UNIT 29: Musicianship F/507/6840
More informationThe Most Important Findings of the 2015 Music Industry Report
The Most Important Findings of the 2015 Music Industry Report Commissioning Organizations and Objectives of the Study The study contained in the present Music Industry Report was commissioned by a group
More information