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The Development of an Inclusive Model to Construct Teacher’s Professional Knowledge: Pedagogic content knowledge for sound-based music as a new subject area

Published online by Cambridge University Press:  29 November 2019

Motje Wolf  and
Sarah Younie
Motje Wolf*
Affiliation:
De Montfort University, Portland Building 1.23, The Gateway, Leicester LE1 9BH, UK
Sarah Younie*
Affiliation:
De Montfort University, Portland Building 1.23, The Gateway, Leicester LE1 9BH, UK
*
Emails: mwolf@dmu.ac.uk; syounie@dmu.ac.uk
Emails: mwolf@dmu.ac.uk; syounie@dmu.ac.uk
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Abstract

This article outlines a systematic process for developing the different knowledge domains required for teaching sound-based (electroacoustic) music as a new subject area. As a new area within the discipline of music, teachers are novices to the field. This requires epistemological deconstruction of what knowledge teachers need in this new field. Then the analysis outlines how to develop teachers’ new knowledge, which can be constructed as subject content knowledge (SCK), pedagogic content knowledge (PCK) and technology pedagogic content knowledge (TPACK). This epistemological analysis informed our creation of teaching materials that develop these different knowledge domains and take account of the complex interplay between them. This process was demonstrated through the ElectroAcoustic Resource Site Projects, which first built subject content knowledge and then created teacher’s packs to build pedagogic content knowledge, and a bespoke CPD programme, which embedded their inter-relationships and built technology pedagogic content knowledge. Most importantly, creating the teacher’s packs employed a user-centred design approach, putting teachers and pupils in the centre of the development process, thereby giving them voice. Voice is an integral part of empowerment in our model, which disrupts the hegemonic grip of the academic curriculum dominated by the traditional music canon. This article adds to the knowledge-base regarding how to develop the different domains required for teaching a new subject. We argue that sound-based music is accessible to all teachers and learners, thereby increasing inclusivity. This in turn can radically disrupt ways of teaching music in schools and the model created provides the necessary scaffolding for a paradigm shift in music teaching on an international level.

Type
Articles
Information
Organised Sound , Volume 24 , Issue 3: Bringing New Music to New Audiences , December 2019 , pp. 274 - 288
Copyright
© Cambridge University Press, 2019 

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