Values of Public and Private Universities Essay Example for Free

Values of Public and Private Universities Essay In the economy we live in today education is of most importance because at some point in time when enhancing our education we will have to decide between public and private universities. In some cases, if they do not one may be unable to acquire a job or be promoted based of their lack of schooling. When a student attends a community college, knowing the next step in their educational career is relevant to secure a future position in a higher and more conventional university. I believe some students are unaware of the significant differences that divide public and private universities. However by understanding the variance between both public and private universities, this will help assist students. Making a more accurately stable conclusion as to which higher education will best benefit them in both the long and short term. If our economy is in majority powered by a standing of schooling, it is of great importance that we select the correct form of university to help achieve a more beneficiary education. It is significant to compare private and public university’s based on their tuition cost, areas of study, graduation accuracy, and campus magnitude to better apprehend the value of each. First, to comprehend the financial standings of schooling it is important to compare the tuition cost of both public and private universities. Additional areas to consider are the school’s annual tuition costs, scholarships, as well as room and bored. According to Christopher Cornwell, a former Exploration Manager, at Eaglewood Energy Inc. and David B. Mustard, an Associate Professor of Economics in the Terry College of Business at the University of Georgia, illustrates that at Georgia’s average four year private university there is a total of 136,581 awards by which 101.91 millions of dollars were presented in total the year of 2002. However, Georgia’s private average annual tuition is near 8,606 dollars. Cost plays a large role in deciding which one out of the two, private and public higher level universities to select to attend; affordability is of main concern. Conversely, Cornwell and Mustard also explained that in the same year of  2002, Georgia’s four year public university has a total of 389,452 awards offered, out of 840.09 millions of dollars stand granted. One online cite, The College Board.com, highly recommended to all college applicants, states that Georgia’s public universities annual tuition nears 4,207 dollars. The contrast of cost fluctuates depending on attending ether public or private universities. Next, when debating between public and private universities it is essential to deliberate the schools areas of study. This includes majors offered, programs, and teaching. Under private universities, rendering Ronald G. Ehrenberg, the Irving M. Ives Professor of Industrial and Labor Relations and Economics at Cornell University, exemplifies that Cornell University consists of four out of ten colleges on its Ithaca campus, â€Å"the Collage of Agriculture and Life Science, Human Ecology, Veterinary Medicine, and the School of Industrial and Labor Relations†. The public university of Alabama at Birmingham School of Public Health specializes in public health programs. Attending a university that specializes in a specific area of study will benefit applicants by high appraisal when applying for jobs in the same area of work (The American Journal of Public Health). One needs to consider graduate accuracy between public and private universities in order to better understand the worth of each one. A graduate rate is a universities average percentage of the total number of students that graduate with a degree within the average time ratio. Contributions to the increase and decrease of any public of private university are based on graduate rates, graduate time period, and job placement. Swarthmore, a small private Philadelphia-based school, will graduate 91% of students within four years, conferring to, Jane Bennett Clark. The public University of North Carolina at Chapel Hill has a 31% admission rate. At 77%, Carolinas four-year graduation rate is 45 percentage points higher than the average rate for four-year public schools according to an article by Susannah Snider. Before selecting ether public or private universities it is important to reflect on each ones graduate rate. Lastly, it is significant to reflect on the campus size magnitude of both  public and private universities. This includes the student to teacher ratio, and the campus total population. According to a report by, Enrolments, Funding and Student Staff Ratios, Policy Note, the average private university withholds an estimate of 1,799,000 student’s total. The public University of Northern Carolina’s fall headcount enrollment in the year 2001reached a high of 3,293, though in the year 2004, 3,574 total enrollment It is projected that by the year 2012 the total fall enrollment will reach 3,717 students (Snider). It is important to take into consideration the total population of every college to decide which large or small learning environment will benefit ones learning progression. In conclusion, one will have the advantage when understanding the importance between public and private universities. Deciding between each one is a resolution that the grander majority of the nation will come to terms with. The importance of understanding the differences between public and private universities is a major area to consider when deciding which university ones believes will fit them best. Base the decision making off of each universities tuition cost, areas of study, magnitude, and graduate rates will help one in their own comparison for which they value most. It is vital to compare public and private universities in order to better recognize each ones distinct value to better determine which learning environment will have the greatest positive impact toward ones education. Citation Page Assessing Public Higher Education in Georgia at the Start of the Twenty-first Century. Whats Happening to Public Higher Education? By Ronald G. Ehrenberg. N.p.: Praeger, 2006. N. pag. Print. CLARK, JANE BENNETT. BEST VALUES IN PRIVATE COLLEGES. (Cover Story). Kiplingers Personal Finance 66.12 (2012): 43-46. Business Source Complete. Web. 23 Oct. 2013. Cornwell, Christopher, and David B. Mustard. Assessing Public Higher Education in Georgia at the Start of the Twenty-first Century. Whats Happening to Public Higher Education? By Ronald G. Ehrenberg. N.p.: Praeger, 2006. N. pag. Print Ehrenberg, Ronald G. Whats Happening to Public Higher Education? Ronald G. Ehrenberg ed. N.p.: Praeger, 2006. Print. Higher Education. Enrolments, Funding and Student Staff Ratios by Sector. Policy Note. Number 2 (2011): 2. Northewest Vista College library one search. Web. Dec. 2011. . SNIDER, SUSANNAH. BEST VALUES IN PUBLIC COLLEGES. (Cover Story). Kiplingers Personal Finance 67.2 (2013): 50. MasterFILE Premier. Web. 30 Oct. 2013. Tuition and Fees by Sector and State over Time. Collegebored.com. N.p., n.d. Web. 15 May 2013. . US Schools Of Public Health And Graduate Public Health Programs Accredited By The Council On Education For Public Health. American Journal Of Public Health 87.3 (1997): 492-494. Business Source Complete. Web. 30 Oct. 2013.

Essay --

Introduction It all starts when I was watching the ad on TV for the car I always dreamed of, a BMW 528 x drive. The offer was so attractive given that the monthly payments shown were actually within my budget. Though the ad mentioned leasing not selling, therefor I need to know: what is car leasing? How the process works? How it is different than buying? Should I lease or buy my next car? How should I prepare for the lease? What is the deal I am looking for? How to negotiate a good deal? What are the after deal obligations? What are my lease end term options? And what happen if I decided to end the contract before the end of the lease term? As in any other negotiation, I should take enough time to prepare properly before making any decisions that I might regret in the future. What is car leasing? Leasing is paying for the use of a car over a specified period of time, in other words it is a term of financing a car. In leasing a car, it is important to note that the total price of the car is important (even if I am only responsible for part of it) and it can be negotiated with the dealership; the owner of the car is the leasing company not the dealership, the dealership acts as an agent for the leasing company and when the deal is generated I will be dealing directly with the leasing company; I agree to make regular monthly payments for the specified period, maintain the car, pay the car insurance, local taxes and tags fees, and I am expected to stick with the mileage indicated to the end of the lease term. I will be hold accountable for any damages or extra mileage above the specified limits. Also, in a lease the monthly payments are upfront, not like when you buy the car where you pay at the end of the month. This means that i... ...the above and make sure that I will be having a good deal. I will be reminded a month a head of the lease term on the date of returning the car and if I am exploring other options I need to decide within that period. It is not a coincidence to note that â€Å"forced arbitration clauses are included in nearly all car sale contracts and leases. Franchise laws in all 50 states give automobile dealers a special monopoly over new car sales, allowing them power to decide what they want to include in their sale/lease contracts. Consequently, consumers purchasing or leasing a new vehicle are a captive audience with no choice but to enter into the sales/lease contract put before them parties when they cannot be resolved on their own to Arbitration†.( retrieved from http://www.fairarbitrationnow.org) (Please see exhibit 3: Sample of Vehicle Purchase/Finance Arbitration Agreement)

The Extreme Deep Ocean Environment and the Cookiecutter Shark

An environment is the conditions or surroundings in which an organism lives in. An extreme environment has extreme conditions outside of the â€Å"normal range† in which organisms usually survive. These extreme conditions could be things such as very high or very low temperatures, an absence of water or an abundance of water and very high levels of precipitation or very low levels of precipitation. An example of an extreme environment is the deep sea. The sea covers around 71% of the Earth's surface and is sectioned into different ocean zones. The deep sea refers to all ocean zones more than 1,000m below the surface. These zones are; the Bathypelagic zone (Midnight Zone), the Abyssopelagic Zone (The Abyss) and the Hadalpelagic Zone (The Trenches). The different deep ocean zones all have varying extreme conditions that require the organisms which live within them to adapt. One of the creatures that lives in the deep ocean is the Cookiecutter Shark, formerly known as the Cigar Shark. The Cookiecutter Shark lives between the Abyssal and Midnight zones and sometimes climbs to the Twilight Zone. The shark is a parasite which means that it â€Å"eats its prey in units of less than one† and is named after the cookie shaped bites it leaves on its prey. Describe the conditions of the deep ocean zone(s) that require special adaptations for survival of the marine organism. I'm going to be outlining the conditions of the Midnight and Abyssal zones as these are the deep ocean zones in which my chosen organism lives.SunlightIn the Midnight and Abyssal zones there is no sunlight meaning that it is very dark. Most creatures in these zones are dark coloured. The dark colouring acts a camouflage against the darkness of the water to keep the creatures hidden from predators. This increases their chances of survival as it means they are less likely to be found and hunted by predators. Another adaptation that these creatures have is bioluminescence. Bioluminescence is â€Å"the ability to produce light by physiological processes which helps the species lure prey.† If deep sea creatures weren't bioluminescent they would be invisible to prey because of their dark camouflage and would therefore not be able to attract them. Bioluminescence can also serve to produce light in order for creatures to see. Because there is no sunlight in these zones, there are no plants. This is because plants require sunlight to carry out photosynthesis and therefore live. It is extremely difficult to see anything in these deep ocean zones, therefore creatures which live in these zones must have adaptations for their eyes which allow them to see in the dark. Most deep sea creatures have very large eyes and reflective retinas to help them see. They are also helped through the use of bioluminescence as mentioned above.TemperatureThe Midnight and Abyssal zones have a temperature range of 2 – 4 degrees celsius. It is slightly warmer in the Midnight Zone compared to the Abyssal Zone as it is closer to the surface of the water and is therefore closer to sunlight which provides warmth. Most animals in the deep ocean zones travel very slowly because their metabolism is slowed down by the cold temperatures meaning they can't get as much energy as fast as some other creatures in the warmer ocean zones (3 ). Some animals also have fat to stay warm against the very cold conditions.PressureThe pressure of the Abyssal Zone can reach 11,000 psi at times which means that the bodies of the creatures which live there need to adapt so they don't become crushed under the pressure. Most deep sea creatures are made up of liquids that are not easily compressed meaning that they are able to survive under immense pressure. These creatures also have strong bones so that they are not crushed due to the pressure. The pressure is so large because there is tonnes of water pushing down on the organisms which live within the deep ocean. The deeper the ocean zone, the more pressure there is due to the increased weight from above. Describe the adaptations that enable the chosen marine organism(s) to survive in the deep ocean zone(s).Behavioural adaptationsThe Cookiecutter Shark lives between different ocean zones depending on the time of day. During the day, Cookiecutter Sharks stay around 1,000 m – 3,500 m below the surface in the Midnight and Abyssal zones. At night they climb to around 300 m below the surface in the Twilight Zone. The sharks move to shallower waters at night in order to feed. They do this because the shallower ocean zones such as the Twilight Zone, are home to the larger mammals which the Cookiecutter Sharks usually feed on. These include dolphins, whales, tuna and other species of sharks.Structural adaptationsCookiecutter shark is a grey/brown colour with a dark ring around it's gill area and a lighter coloured belly. This adaptation allows the Cookiecutter Shark to remain camouflaged in the darkness of the deep sea environment. Because the shark is camouflaged it means that it can remain hidden from larger predators. This increases the shark's chances of survival. The Cookiecutter Shark is also bioluminescent in order to lure it's prey. The light from the shark's belly attracts larger fish which the Cookiecutter Shark feed on. The dark coloured ring on the throat of the shark, against the glow of the underside of the shark's body, is thought to make the Cookiecutter Shark look like a small fish when viewed from below. The larger prey see this and move in to feed on the seemingly small and harmless fish. This is when the Cookiecutter Shark turns from prey to predator and feeds on the larger creature by leaving cookie cutter shaped holes on the creature's body. The Cookiecutter Shark feeds on larger sea creatures by latching on to them with it's smaller top teeth while cutting the flesh with it's large bottom teeth. The shark spins its body to rip the flesh from it's prey leaving a cookie cutter shaped hole on its body. These bites are not fatal to the prey, but they provide enough nutrition for the Cookiecutter Shark. Because the bites are not fatal and the shark only eats a small part of its prey, they are classified as a kind of parasite. The Cookiecutter shark has adapted to losing all of it's teeth at once as opposed to having only a few fall out a time like other sharks. The teeth are then digested and are thought to increase the levels of calcium in the shark's body which helps keep the shark's bones strong. This is an effective adaptation because it makes sure the shark's bones are strong enough to withstand the immense pressure of the deep sea environment. In order to sea in the dark of the deep ocean, the Cookiecutter Shark has very large eyes on the side of it's head.Physiological adaptationsThe Cookiecutter Shark has an oily liver that is larger compared to the liver of similar sharks. It's large liver makes up around 35% of its total body mass.(1) The Cookiecutter's liver has low density oils which makes the shark able to float in the same place as opposed to sinking to the bottom. This makes the sharks â€Å"neutrally buoyant† meaning they don't float up or down. This allows the shark to save energy because it has no need to constantly swim to avoid sinking. This is good because in the Abyssal and Midnight zones there is not very much food available meaning that energy is very precious and should be saved wherever possible. The adaptations of the liver can also help the shark dive to greater depths. This would be very useful to the Cookiecutter Shark when swimming back down to the Midnight and Abyssal zones after feeding in the Twilight Zone. Explain in detail and analyse how these adaptations work together to allow the marine organism to survive in this extreme environment. In order for the Cookiecutter Shark to survive in this extreme environment, it must have adaptations to withstand the pressure. Two adaptations that work together to do this are; the shark's teeth falling out and the density/size of the liver. The density and size of the liver of the Cookiecutter Shark is a very crucial part of being able to withstand the pressure of the deep ocean. The oil in the liver of the shark is very low density and not easily compressed(3), which combined with the large size of the liver, allows the shark to be able to withstand the immense pressure. As mentioned previously, it is thought that Cookiecutter Sharks lose their bottom teeth and then swallow them in order to increase calcium levels. This increased amount of calcium helps to make the shark's bones stronger meaning that they are less likely to break under pressure. If this didn't happen, the levels of calcium that the shark has would be lower and it's bones would be brittle and easily crushed under the weight and pressure of the deep ocean. These two adaptations both work together to help the Cookiecutter Shark to survive in the Midnight and Abyssal zones. Another set of adaptations that work together to help the Cookiecutter Shark survive in the deep ocean environment are; bioluminescence, camouflage and movement between ocean zones. Because the Cookiecutter Shark lives in such a dark environment it needs to be seen in order to attract prey. The shark does this by using bioluminescence. The underside of the shark lights up against the darkness of the ocean to be seen from below by potential prey. The dark colouring of the shark does the opposite for the shark and keeps it camouflaged. This allows the shark to hide from predators and stay hidden when it moves from the deeper ocean zones to the Twilight Zone during the night. The colour of the shark also makes it seem small when viewed from below by prey. This paired with the bioluminescence fools prey into swimming closer to the shark in the hopes of eating it. When daylight nears, the Cookiecutter Shark then descends back to the Midnight and Abyssal zones where it remains hidden due to its camouflage. Explain in detail anything else that would be relevant to the organism's survival such as how the adaptations allow the marine organism to coexist with other marine organisms in the same ocean zone(s). The adaptation that allows the Cookiecutter Shark to coexist with other marine organisms is the teeth of the shark. This is because the Cookiecutter Shark is a parasite. This means that the shark eats small parts from prey as opposed to eating the entire organism. The shark takes small cookie shaped bites of flesh from the bodies of its prey. This leaves the prey injured but not fatally injured meaning it can live on and recover from the Cookiecutter attack. When I was researching I found it was very difficult to find information about the adaptations of the Cookiecutter Shark that help it coexist with other marine organisms. This means that the Cookiecutter Shark is quite an independent creature and more research needs to be done about the nature and behaviour of this shark.ConclusionThe deep ocean is the largest of many extreme environments on Earth and is home to very many different types of organisms all with their own sets of adaptations which work together to help them survive and coexist with other organisms. The Cookiecutter Shark is one of these deep ocean creatures and although I was able to research enough to write a report about it, more research needs to be done about this mysterious creature.Bibliographyâ€Å"Deep Sea: Cookiecutter Shark – Elasmo-research.† http://www.elasmo-research.org/education/ecology/deepsea-cookiecutter.htm. Accessed 6 Jun. 2018.â€Å"Interesting Facts About the Abyssal Zone That'll Sta rtle †¦ – ScienceStruck.† https://sciencestruck.com/interesting-facts-about-abyssal-zone. Accessed 5 Jun. 2018.â€Å"How Deep Sea Creatures Survive | Water Temperature Ocean †¦ – Fiboni.† 15 Mar. 2013, http://www.fiboni.com/2013/03/the-survival-strategies-of-deep-sea-creatures/. Accessed 6 Jun. 2018.â€Å"Cookiecutter Sharks, Isistius brasiliensis ~ MarineBio.org.† http://marinebio.org/species.asp?id=491. Accessed 5 Jun. 2018.â€Å"The Cookiecutter Shark Is A Weird Species Of Shark – Shark Sider.† https://www.sharksider.com/cookiecutter-shark/. Accessed 13 Jun. 2018.

Music - stimulus for learning across the primary curriculum - Free Essay Example

Sample details Pages: 22 Words: 6478 Downloads: 7 Date added: 2017/06/26 Category Education Essay Type Narrative essay Did you like this example? The teaching of music in Primary Schools is an area of education that has seen dramatic changes in the last few decades. From a situation where music teaching was almost non-existent in some schools, and where in others young children were frequently alienated from music by being banned from choirs or told they were ‘tone-deaf’, music is now strongly represented within the National Curriculum. Current thinking emphasises that there is no such thing as a completely unmusical child, and the curriculum has moved from an emphasis on performance – often for the relatively gifted only – and passive listening to encompass composition, performance and critical appraisal part of the musical education of every child. Don’t waste time! Our writers will create an original "Music stimulus for learning across the primary curriculum" essay for you Create order This study considers music within the broader context of Primary education, considering the benefits of integrating music into other areas of the curriculum, and looking at the implications for learning bearing in mind that music in itself has been linked with improved behaviour and concentration (Glover and Ward 1998: 14), and thus may be considered conducive to a desirable learning environment for all subjects, and, furthermore, to the social and mental well-being of Primary school children. The development of modern Primary music education can be traced back to the introduction of the National Curriculum in 1987, although music at the time was considered low priority, and was not included in the Curriculum until 1991. When the National Curriculum was introduced, many teachers questioned its viability: it moved away from the topic-based teaching which had embraced a number of subjects without specifying distinct areas such as history or music or language. It was felt that by focusing on the topic rather than specific academic subjects, lessons held more interest for children. However, a number of educationalists had criticised the topic-based approach because of its lack of objectives and limited focus on specific achievement, and the National Curriculum sought to address this. Today, best practice is considered to be somewhere between these two approaches: subjects are distinct from each other, but a focus on the links between different disciplines is encouraged, and it is in this environment that incorporating music into cross-curricular activities can be particularly beneficial. The past few decades have seen a significant change in the delivery of music education. The Plowden Report (1967) recognised the importance of ‘non-specialist’ teachers being able to deliver music teaching : â€Å"It is to the musical education of the teacher that attention must first be given†¦ Comparatively few primary schools†¦can, for s ome time to come, expect to have a music specialist as a full-time member of the staff and it is even doubtful 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 tea chers 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 ‘framewor k’ 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 primary school teaching, the second and third stage are most relevant, covering the ages of around 2 to 7 (Pre-Operational) and around 7 to 11 (Concrete Operational) respectively. There is a lack of logic and a focus on the self in the Pre-operational stage, while in the Concrete operational stage, children are able to apply knowledge logically, manipulate information and understand the concept of others’ perceptions as well as their own. While Piaget’s theories are popular, many educators have reservations about them, particularly w ith regard to the specific age ranges linked to the stages. It is widely considered that such developments vary greatly in respect of age from child to child .Criticism of the Plowden Report has at times focused on its emphasis onPiagetian approaches (Gillard 2005). However, Piaget’s ideas are applied widely, including in music education, with its frequent focus on working together in ensembles (which helps develop understanding of others’ perspectives), or experimenting with the sounds that different classroom instruments can make (learning by experience). The behaviourist approach has lost favour in education: certainly in music, where it would be characterised by passive listening and instruction, it has been superceded by a more critical and analytical approach. Pavlov, famous for teaching dogs to salivate at the sound sofa bell, was a key figure in the development of behaviourist theory, and it has some place in musical education: for example, historical or cul tural context of a piece of music is best explained by the teacher before pupils explore its musical qualities. Vygotsky’s theories, which suggest children learn by a combination of experience and instruction are perhaps more relevant to primary music education. Vygotsky took into account the social and cultural environment, particularly the influence of parents. He proposed that children’s development arose as a result of interactions with others. Vygotsky’s theories provide a link to theories regarding the learning of expression through the spoken word. A number of academic shave researched the area of music as a language which might be learned in a similar way to speech. In Barrett (1996), various research into the learning of oral language is explored to construct a framework in which successful learning of music might take place. Key to it is immersion: just as language is practiced all around the child, so too should music be, with parents demonstrat ing good practice as well as teachers. This parallels the Suzuki method of instrumental learning,where the parent learns alongside the child and reinforces at home what has been taught. Barrett endorses a method which leans towards maturation – â€Å"the learner is encouraged to assume responsibility for his own learning,with frequent opportunities provided for the continuous practice of skills† (Barrett 1996:72), with â€Å"the teacher available to assist when help is requested† (ibid). Yet there is also an element of behaviourism: â€Å"The experience of explaining, or teaching an item to another is often instrumental in clarifying the issues within the mind of the learner† (ibid: 69). In Mills’ exploration of the development of musical skills in the primary years (Mills 1996), a New Zealand study is discussed which supports Barrett’s theories. Through extensive fieldwork, Roger Bucktonfound that Polynesian children in New Zealand sc hools sung with moreconsistent vocal accuracy than those from European families. Millsattributes this to the difference in culture: â€Å"[Polynesian] children sing with their families and in church from anearly age. Children of European ethnic background†¦often arrive atschool with little background in singing.† (Mills 1996: 119) As will be seen, these various schools of thought have implications forboth the study of music and of other subjects, and hence forcross-curricular activity too. To consider music’s use across the curriculum, we must first consider its place as a subject in its own right. The National Curriculum addresses the following core areas: Performing skills: controlling sound through singing and playing Composing skills: creating and developing musical ideas Appraising skills: responding to and reviewing music Listening and applying knowledge and understanding. The scope of the National Curriculum for music is broad. By the end ofKey Stage 1, pupils are expected to reach a standard where they arecapable of organising sound, of using symbols to represent music, ofperforming with an awareness of others and of responding to the mood ofmusic. Beyond the practical, they are also expected to learn aboutvarious music from history and around the world – this provides auseful opportunity for cross-curricular work – and to understand thefunctions of music such as for dance, again offering cross-curricularopportunities. This kind of background knowledge continues to form a core part of thecurriculum at Key Stage 2, with the practical element further expandedthrough ICT, with the statutory requirement to â€Å"capture, change andcombine sounds†. Technological developments and greater affordabilitymean this is an area that has been practical to include in thecurriculum only in recent years, and for many teachers unfamiliar with music technology, this creates an additional challenge. However, it isagain a practical area to apply cross-curricular teaching in. At Key Stage 2, pupils are expected to develop a sense of musicalexpression along with more advanced ensemble skills. They should alsobe able to evaluate and suggest improvements to pieces of music by thetime they leave Primary School. This corresponds to a time when pupilsare developing their own tastes, influenced by a range of externalfactors such as family (particularly older siblings), or artistsspecifically marketed at ‘tweens’. An awareness of such subcultures canhelp the Primary school teacher to relate elements of the music lessonto them to create a particular resonance with pupils with suchinterests. A 2002 study by a team of researchers from Southampton Roehampton and Keele Universities carried out as part of the QCA’s (Qualifications andCurriculum Authority) Curriculum Development Project in the Arts andMusic Monitori ng Programme produced some interesting findings(Hargreaves, Lamont, Marshall and Tarrant 2002). Many of the study’ssubjects were KS2 pupils. Across the study, which used interviews andquestionnaires to look at pupils’ and teachers’ attitudes to andengagement with school music teaching, children responded positively tothe performance aspect of the curriculum. Although many spent a gooddeal of time listening to music outside school (particularly popularmusic on the radio or on walkmans), little reference was made tolistening and appraising music in school music lessons, nor tocomposition. Given the government’s commitment to enabling every child to havethe opportunity to learn an instrument, it is perhaps surprising thatonly 17% of children thought this was something a school should offer,although the majority were learning or wanted to learn an instrument.While instrumental lessons may seem to offer limited scope forcross-curricular activities, and inde ed may take up additional teachingtime, their indirect effect on other subjects is positive as thelearning of an instrument helps develop a range of skills includingco-ordination, concentration and self-expression. The Southampton/Keele study noted that a number of teachersexpressed concern over time and financial resources available toimplement a music programme. The time constraints suggest thatcombination of subjects through cross-curricular activity may be anattractive solution if managed appropriately. The study also showed that the use of external music specialists inPrimary music teaching was widespread and, furthermore, help fromspecialists was seen as vital to the success of the music curriculum.The aim that music teaching should be deliverable by non-specialistteachers is still not met entirely: â€Å"Technical demands of the curriculum are mentioned by many teachers:even those with musical qualifications and expertise feel unable tocover the entire spectrum of the music curriculum.† (Hargreaves,Lamont, Marshall and Tarrant 2002: Section 3) This is not expanded on. Teachers responded positively to theschemes of work, particularly as a tool for less musically-experiencedteachers, but it is possible that the breadth of the music curriculumis a challenge for teachers to deliver. The government’s increasedfocus on learning an instrument is likely to maintain this situation.It will be interesting to see whether, in future years, the generationof teachers that has benefited from the National Curriculum for Musicas pupils and who have had more opportunity for learning an instrumentthan previous generations of Primary teachers find it easier to deliverclassroom music lessons. The response from schools in the Southampton/Keele survey wasoverwhelmingly positive and it appears that the National Curriculum hasbrought classroom music teaching out of the margins by demonstratingthe many benefits of musical activity, notably those beyond mu sicalskills such as the social aspects and positive impact on behaviour andconcentration. In addition to focusing purely on music for a period within thetimetable, many teachers practise combining music teaching with othersubjects. This has roots in pre-National Curriculum teaching, wherelearning was frequently cross-curricular and based on a topic. Incertain situations, it appears that music is highly relevant in theteaching of another subject. This section explores the opportunitiesavailable and shows how there may be significant benefits for learningin all subjects in a cross-curricular lesson. Glover and Ward warn that there is a danger of attempting tocombine subjects in a way that has little benefit. They particularlydraw attention to themed songs which have no musical relevance: â€Å"In a topic on ‘food’†¦young children might be encouraged to sing ‘FoodGlorious Food’†¦ the links with the topic are spurious†¦the song may be a poor musical choice for a class who find difficulty with pitching thedemanding interval leaps.† (Glover and Ward 1998: 153-4) Glover and Ward also draw attention to the practice of linkingcomposition too closely to topic work, so that children are invited tocreate the sound of, for example weather, producing sound effectsrather than an appropriately-structured and thought-out piece of music(Glover and Ward 1998: 154). Bearing these points in mind, how can music teaching be productively combined with other subject areas? History lends itself to an exploration of music from other times. Astudy of the Tudors might incorporate a look at Tudor instruments andmusic, which provides further opportunities to consider Tudor life.Many pieces are dances, and pupils might participate in a dance of theera. Pupils can find out more about the function of the music, aboutwho would have been able to afford the instruments and who would haveplayed them. This might link with study of lif e for the wealthycontrasted with the majority of the population or of leisure pursuitsof the time. This helps reinforce what has been learnt about life inTudor times, while consideration of the stylistic qualities of themusic benefits musical understanding. Geography provides the chance to consider world music within its socialand cultural context rather than in isolation. Glover and Ward advocateexploring various musical styles from the same geographical area: â€Å"A little research goes a long way towards getting things intoperspective. Children will be interested in the detail and thedifferences between different music within a culture.† (Glover and Ward1998: 160) Through exploration of the elements which go to make a particularmusical style, children can learn about musical devices such as dronesor call-and-response structures. Simultaneously, by understanding therole of a type of music within a particular culture, they gain abroader understanding of different s ocieties. Science lessons can provide a framework for the study of soundproduction. Through a focus on a range of instruments and othermaterials and their sonic properties (the production method of thesound, its qualities and pitch range, for example) causes pupils tofocus on the detail of sound. Composition activities linked toexperiments with sound production are enhanced: pupils consider thescope of their instruments in a broader range of musical parameters.Their scientific understanding of sound also benefits. Maths has particularly strong links with music, and various studieshave established a link between aptitude in maths and musical ability.Rhythm in music has a significant mathematical component: an obviousexample is the US note-naming system, where a crotchet is aquarter-note, a quaver an eighth-note and so on. Musical patterns offerthe opportunity to explore principles of symmetry, by playing a patternin its original form and in reverse. The inversion of a melody ca n belikened to reflection. A number of composers have incorporatedmathematical concepts into their music: many of these are rathercomplex for consideration at primary level, although the works ofXenakis may be useful for older Primary pupils. The construction of aparabola through a series of overlaid straight lines is visible in someof Xenakis’ scores, with lines performed as a string glissandi (slidesthrough pitch). Xenakis’ involvement with architecture, again using thescience of curves, may also be linked to lessons in this subject area.In addition to obvious connections with mathematics, Xenakis’ scoresare a useful example of how modern composers develop their own notationsystems and graphic scores, which may inspire children in compositionactivities. Literacy also has a close affiliation with music. The inflections inspeech are melodic and it has distinct rhythmic qualities. The settingof text to music draws on these connections. Explorations of language and words – for example, rhyming words or short poem – can be takenfurther by turning them into chants or songs. A recent trend which underlines the links between language andmusic is the frequency with which children write a ‘rap’ rather than apoem. This could be taken further with a look at rap music payingattention to the dialect, fulfilling the requirement of the NationalCurriculum for English that children understand about language variety.However, any rap music should be selected with care due to subjectmatter and vocabulary in many rap tracks being unsuitable for use inschool. Narratives in literacy can also be explored through music, but itis important that children understand the concept of music without aprogramme and can link musical devices to punctuation: a cadence is afull stop, a musical phrase correlates with a spoken phrase (Glover andWard 1998: 166). The National Curriculum for Physical Education promotes the explorationof music through dance, and schools have a long tradition of music andmovement lessons. Dance and music together are included in thegovernment’s Schemes of Work: â€Å"Unit 31†¦In this unit children focus on popular dance styles ofdifferent eras. They explore a range of dances, using step and gesturepatterns, body shapes, contact work, and contrasts in dynamic andrhythmic patterning. They learn more about both dance style and music.†(Weblink: Schemes of Work: PE/dance) This unit has links to history and possibly geography too, so is truly cross-curricular. Response to music through movement is pertinent throughout our culture(the inclination to tap a foot to the beat, for example), and in youngchildren a physical response to music is common. Ben-Tovim and Boydinclude this as a criterion in a ‘Musicality Test’ to be applied whenconsidering whether a child should learn a musical instrument(Ben-Tovim and Boyd 1995: 18). Possibly the most difficult sub ject to establish effectivecross-curricular links in is art. While music and art can be seen asclosely connected, they both function in a similar role in terms ofproviding an outlet for self-expression through organisation ofelements, whether visual or aural. The temptation to play a piece ofmusic as an ‘inspiration’ for painting may result in the childinventing a programme for the music which is then represented in apicture. One must question the benefits of this regarding the verylimited extent to which it might benefit musical understanding, andalso its unintentional promotion of the idea that music must beprogrammatic. Also, is the music a background element compromising thechild’s concentration on the art, or vice versa? Overall, there is a wide range of opportunity to combine music withother subjects to the benefit of both curriculum areas concerned. Thepractical applications discussed above also fulfil a balanced model ofinstructional teaching and self- discovery: for example, the teacherpresents a recording of music from another era or land, and providesbackground information, but the pupils are encouraged to explore itscharacteristics for themselves. This promotes a blend of thebehaviourist and maturation theories discussed earlier. The opportunities for mutual support between subjects throughcross-curricular teaching demonstrates the importance of classroomteachers having adequate support and training to incorporate music intoother lessons; it is even more relevant in cross-curricular teachingthan in music lessons. By ensuring this is the case, benefits may beseen across almost all curriculum subjects. In addition to combining music with other subjects in order to teach itdirectly, music has further applications in the curriculum. The connections between language and music have a further benefit thatcan be utilised across various subjects. Text set to music is moreeasily committed to memory, and the use of songs to lear n key facts iswidespread – for example, to learn numbers or the alphabet.Number-learning by song is effective, as one SEN teacher using singingin Maths comments: â€Å"Even if pupils don’t understand the concept of numbers, they can sing up to 10†, (Maynard 2004) Colwell’s research with Kindergarten children in the US (Colwell 1994)demonstrated that when children practised a reading text set to music,they read it with greater accuracy than a group who had practised thetext without its musical setting. However, although this researchsupports the findings of previous experiments, it used a sample of only27 subjects. Research undertaken by Dr Frances Rauscher, a former professional’cellist with a Ph.D. in Psychology, and her colleagues suggested alink between playing music to a group of subjects and a simultaneousincrease in their spatial-temporal reasoning abilities (Rauscher, Shawand Ky 1993). Since then, further research has been undertaken whichboth supports and questions these results. A further study in 1997 on preschool children showed a 34% increasein spatial-temporal reasoning tests among children who had receivedprivate piano and singing lessons compared to those who had not –including a group who had received private computer lessons. Theconclusion drawn by the researchers was that learning music was ofbenefit to learning potential in maths and science subjects, and moreso than computer skills. This research raises many questions. Firstly, it is widely thoughtthat the ideal age to begin learning an instrument is no younger than 7: â€Å"the second most common factor in musical failure was starting at thewrong time – too early†¦a six year old who goes on and on about wantingto play a musical instrument is experiencing the promptings of hisdeveloping instinct to make music, but he is not yet ready to do muchabout it.† (Ben-Tovim and Boyd 1995: 20) . It is therefore somewhat surp rising that very young children engagedwith their music lessons in a way that increased their more generalmental capabilities. This has clear implications for the government’sMusic Manifesto; could earlier instrumental learning have a greaterbenefit in other subjects? The second issue is the findings themselves: as the computerlessons had little impact on test results while the music lessons madea significant difference, it is clear that private teaching alone isnot the cause of the improvement; rather it is the learning of music.However, it does not necessarily follow that by simply listening tomusic, a child’s academic potential in mathematics or any other subjectis enhanced. Rauscher’s research has created a great deal of interest bothwithin more general media and among psychologists and other academics.It has, to some extent, been mythologised with the label â€Å"The MozartEffect†. Rauscher’s findings have been disputed by a number of aca demics.Heath and Bangerter (2004) argue that the original 1993 research, oncollege students, showed only a small effect which was not prolonged,and that a number of research projects have failed to replicate theresults. They also demonstrated a link between the level of attainmentin various states in the US and the amount of local newspaper coveragepromoting the Mozart Effect: the lower the attainment, the morecoverage. Heath and Bangerter attributed this to the recognition of aparticular problem and the possibility of a ‘quick fix’. In a number ofstates local government reflected media endorsement by subsidisingprojects to expose children to Mozart recordings, but it appears therestill needs to be more research in the area Rauscher herself has moved to clarify her research: â€Å"Our results on the effects of listening to Mozarts Sonata for TwoPianos in D Major K. 448 on spatial-temporal task performance, havegenerated much interest but several misconceptions†¦ the most common ofthese [is] that listening to Mozart enhances intelligence. We made nosuch claim. The effect is limited to spatial-temporal tasks involvingmental imagery and temporal ordering.† (Rauscher 1999) However, a number of studies have shown some evidence of a Mozarteffect in various different environments. Most relevant is Ivanov andGeake (2003) which found a Mozart Effect and a Bach Effect on Primaryschool children listening to music while undertaking a paper-foldingtask (again, this is demonstrating spatial-temporal competence ratherthan intelligence). This study also established that general musictraining was not a factor in the results – this suggests that playingmusic has a temporary effect on reasoning, and might not enhancelearning in other subjects subseq uently unless music is played on thatoccasion. The Mozart Effect continues to be debated by academics because ofthe conflicting research findings. However, it is notable that limitedresearch has been done on the elements of music which might contributeto the effect, although reference to an unspecified study by Dr WilliamThompson (Weblink: Research relating to the ‘Mozart Effect’ (2)) notesthat the effect is evident when lively classical music, includingMozart and Schubert, is played, but not with slower music by Albinoni. Many teachers report using background music in a variety of situations with positive results: â€Å"For many years I have used music during lessons. It helps youngchildren relax in handwriting lessons, and helps their concentrationduring imaginative writing sessions.† (Hume 2004) It appears that there is certainly some evidence supporting playinglively classical music in a variety of class situations to boostpupils’ performan ce, and a number of teachers are using backgroundmusic in class and feel it to be beneficial. However, much research isstill needed in this area. Music teaching has a variety of uses within the curriculum for pupilswith special educational needs (SEN). The term SEN is used to refer topupils with special needs arising from a wide range of situations andconditions such as physical disability, emotional and behaviouralproblems, autism, school phobia, a background of abuse or stress ordyslexia. Many of these children may be academically gifted, others mayfind very basic concepts challenging. Music in SEN, as a result,fulfils a range of functions. For all SEN music lessons, there is the potential to cover areasincluded in the National Curriculum: listening and appraising,composing and performing. The nature of SEN teaching means that thesemay have to be adapted according to the needs of pupils. Cross-curricular activity can be useful tool: for example, whilepupils with concentra tion problems may struggle to sit and listen tomusic, they may be more receptive if asked to draw a picture respondingto music that is playing while they do so, although there can be adifficulty with children focusing on their art and barely noticing themusic. Perry (1995: 56) suggests using a 5 minute excerpt introducedwith a story – thus using literacy – to create an initial engagementbefore moving on to children drawing. Music may also be used as a form of therapy. For younger children,activities undertaken while standing in a circle are of particularbenefit in helping child a child with attention difficulties to engage.An activity might involve passing a teddy around a circle while musicplays until it stops, at which point the child holding the teddy has achance to play briefly on an instrument. The teddy helps those childrenwho might be resistant to the activity to accept it (Weblinks: Becta). For autistic children, music can contribute to establishing arout ine. With songs, for example, for lunchtime, for playtime and forgoing-home time, where the same piece of music is used consistently forthe same activity, singing can help maintain the sense of stability androutine which is particularly important for those with autism (Maynard2004). While musical activities can benefit children with specialeducational needs, care must also be taken not to cause a detrimentaleffect. Packer (1996: 136) identifies that certain methods of musicmaking can create stress for a child who is particularly sensitive toit, quoting Nordoff and Robbins, pioneers in music therapy. Sheexpresses concern, however, that fear of causing harm can eliminate anychance of benefit if it results in less music being used in SENteaching. The role of music in SEN teaching effectively falls into twodifferent categories: music to try and lessen the SEN – for example,for children with behavioural problems – and music as a means offulfilling a number of needs fo r children whose underlying condition –say, visual impairment – will not be improved by the musical activities. For children who struggle to engage with mainstream activitiesbecause of a condition such as visual impairment or dyslexia, music hasan important role because many musical activities place them on anequal footing with pupils without special educational needs. This canenhance confidence and fulfil social needs. It is important to include deaf children in musical activities.Those with no hearing can sense vibrations and pulses, and theopportunity to play an instrument can have a significant effect on ahearing-impaired or profoundly deaf child. The organisation Music andthe Deaf, founded by Paul Whittaker, a gifted organist who isprofoundly deaf, has undertaken a number of projects to promote musicin the classroom for deaf children (Weblink: Music and the Deaf). Gifted children also fall within the category of SEN teaching, andcan prove a particular cha llenge in classroom music teaching. It is notunusual to find a Primary School pupil who has achieved AssociatedBoard Grade 5 or 6 on an instrument and for the non-specialist musicteacher this raises the issue of their own expertise being scrutinised.In practice, many of the activities in the QCA’s schemes of work adaptwell to cater for children of a wide variety of standards: for example,a composition or improvisation exercise allows each child to perform atthe level of their choosing. With many Local Education Authoritiesrunning Saturday music schools and similar activities, the provisionfor the musically-able pupil is often more than adequate. In conclusion, it is clear that music teaching in Primary schools has awide range of potential applications, including learning specificmusical skills, the reinforcement and exploration of concepts in othersubject areas, the enhancement of social aspects of school and apositive impact on behaviour and concentration. However, his torical neglect of classroom music teaching has resulted inthe ideal situation, of all Primary School teachers confident andcompetent in the delivery of classroom music lessons, still lacking inmany schools. This creates a situation where music is being taught veryinclusively, with the aim of engaging all pupils and the belief thatall pupils are capable of musical expression, by teachers with littleor no experience of being included themselves. The effect on a child’sconfidence of being told they are ‘no good’ at music, or of not beingallowed to join in with their peers in singing or playing activities,can have a lasting effect and it might be that issues with Primaryschool music teaching have more to do with teachers’ confidence thancompetence. It could be argued that the Music Manifesto’s emphasis oninstrumental teaching is in danger of perpetuating this. While seemingto offer children from all backgrounds an opportunity to participate inwhat c an be an expensive activity, there is the risk that thosechildren who are not inclined to learn an instrument are ‘made’ to takeone up by parents, that children who struggle with their instrumentfeel marginalised and compelled to abandon the instrument and theirenjoyment of music with it. The Southampton/Keele study showed that 45%of children surveyed from upper Primary and lower Secondary classes didnot learn an instrument and furthermore had no wish to. However, manyof these children enjoyed playing CDs, DJing, karaoke and singing alongto recordings at home, and it may therefore be desirable to incorporatethese activities into future plans (Hargreaves, Lamont, Marshall andTarrant 2002: Section 2). It is notable that instrumental lessons require specialist teaching,taking music education outside the remit of classroom teachers. Thesame could be argued for a credible supervised DJ-ing or karaokesession. These lessons potentially leave less time for classroom musicmak ing or for other subjects where music can be used incross-curricular situations. Yet the benefits of music in the classroomhas been established and it is important that, having become moreprominent within the curriculum, and with the support of teachers andheads, music does not become a more peripheral subject. Widespreadinstrumental proficiency would give a broader range of opportunitiesfor music-related activities, for example, the opportunity for allchildren to play in ensembles or sing with their peers providingmusical backing and to compose using the various instruments they andtheir peers are learning. The recent announcement by Ruth Kelly, Secretary of State forEducation, of an extended school day with breakfast clubs andafterschool activities may go some way to addressing the pressures onthe school timetable created by increasing the remit of school musiceducation. The future development of music education needs to be considered inthe context of music not merely as a c urriculum subject with a certainset of skills attached, but for its possibilities in other subjects andto fulfil a broader role in the school and community. Another area which needs further consideration is the broadereffects of music such as use as a therapy or as a tool to aidconcentration. Evidence suggests that research is still in its earlystages and causing some confusion over the potential of such uses ofmusic. It appears that there is no standard ‘good practice’ developedfor these applications. Given that many researchers are in conflictover what music can and cannot achieve, and that research largelyreports effects (or lack of them) with little exploration of whatspecific qualities in the music might be causing an effect, it is notsurprising that so little guidance seems to exist in this area.However, the number of studies reporting some kind of beneficial effectis too significant to ignore. As the research continues, it should beviable to put together infor mation on best practice and to implementthis in Primary – and other – schools with a greater consistency andpositive results. Another area of inconsistency is the links in schools with externalcontacts. One of the main reasons the Southampton/Keele studyestablished for children liking music lessons was â€Å"contact with ‘real’or professional musicians† (Hargreaves, Lamont, Marshall and Tarrant2002: Section 4). Many orchestras and other ensembles have outreachprojects involving musicians visiting schools. However, with many suchensembles London-based or in large cities, and professional musicianshaving many other commitments, there is a limit to how many of the UK’sapproximately 25000 Primary schools can be visited, with a notableeffect: â€Å"Smaller schools without these opportunities find this a significantproblem, whilst schools who benefit form contact with the world ofprofessional musicians report this as extremely beneficial ins upporting their in-school music teaching and activities† (ibid:Section 3). With inevitable limits on funding and time, the use of resources, evenwith the guidance of the National Curriculum and Schemes of Work, issubjective. However, the growing research into music, learning and itsbenefits for Primary school children supports a continued focus on thissubject which for so many decades has been neglected. To summarise, the recommendations for Primary music education in the future are: To continue training and support to increase classroom teachers’ confidence and competence in delivering music in a range of classroom situations To promote the use of music in cross-curricular situations with a mutual benefit for the two (or more) subjects taught in conjunction with each other To consider ongoing research into the broader benefits of music, both in mainstream education and SEN teaching, and to implement findings where applicable To continue to develop an inclusive Primary music strategy With the above points implemented, the growth of music as a forcewithin education with broad benefits for children and the widercommunity, will be set to continue. 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