The Functions of the Student Voice and Student-Centered Teaching Practices in Classroom-Based Music Education
Commenced in January 2007
Frequency: Monthly
Edition: International
Paper Count: 32926
The Functions of the Student Voice and Student-Centered Teaching Practices in Classroom-Based Music Education

Authors: Sofia Douklia


The present context paper aims to present the important role of ‘student voice’ and the music teacher in the classroom, which contributes to more student-centered music education. The aim is to focus on the functions of the student voice through the music spectrum, which has been born in the music classroom, and the teacher’s methodologies and techniques used in the music classroom. The music curriculum, the principles of student-centered music education, and the role of students and teachers as music ambassadors have been considered the major music parameters of student voice. The student- voice is a worth-mentioning aspect of a student-centered education, and all teachers should consider and promote its existence in their classroom.

Keywords: Student’s voice, student-centered education, music ambassadors, music teachers.

Procedia APA BibTeX Chicago EndNote Harvard JSON MLA RIS XML ISO 690 PDF Downloads 176


[1] Flutter, J & Rudduck, J. (2004) Consulting pupils: what’s in it for schools. London, Routledge Falmer.
[2] McIntyre, D. et al. (2005) ‘Pupil Voice: Comfortable and Uncomfortable Learnings for Teachers’. Research Papers in Education, 20(2), pp. 149-168.
[3] Plowden (1967) The Plowden Report: Children and their Primary Schools.
[4] Finney, J., & Harrison, C. (2010) Whose music education is? The role of the student voice. Solihull: National Association of Music Educators.
[5] Department for Education (1992) Music in the National Curriculum (England). London: HMSO Publishing.
[6] Ross, M. (1995) ‘What’s Wrong with School Music?’ British Journal of Music Education. Cambridge University Press, 12(3), pp. 185-201. doi: 10.1017/S0265051700002692.
[7] Swanwick, K. (1999). Teaching music musically. London: Routledge.
[8] Schmidt, P. and Colwell, R. (2017) Policy and the political life of music education.
[9] Department for Education and Employment (1999) The National Curriculum. Handbook for primary teachers in England. London.
[10] Philpott, C., &Plumridge, Charles. (2001). Issues in music teaching (Issues in subject teaching series). London: Routledge Falmer
[11] Department for Education (2011) The importance of Music. A National Plan for Music Education.
[12] Jaffrey, M. (2006) Music Manifesto Report no. 2. Making every child's music matter. London.
[13] Davis, R. (2005) ‘Music Education and Cultural Identity’, in Lines, D. (ed.) Music Education for the New Millennium: Theory and Practice, Futures for Music, and Learning. Oxford: Blackwell Publishing, pp. 47-64.
[14] Curee (2011) Sing Up 2007-2011 Programme Evaluation: Synthesis Report including Executive Summary. Coventry: Centre for Use of Research & Evidence in Education. Available at:
[15] Cook-Sather, A. (2006) ‘Sound, Presence, and Power: Student Voice in Educational Research and Reform’, Curriculum Inquiry,36(4), pp. 359-390.
[16] Noyes, A. (2005) ‘Pupil voice: Purpose, power and the possibilities for democratic schooling’. British Educational Research Journal. 31(4), pp. 533-540
[17] Philpott, C., and Spruce, G. (2012) Debates in music teaching (Debates in subject teaching series). New York: Routledge
[18] Benson et al. (2005) ‘Comparisons of Teacher and Student Behaviours in Private Piano Lessons in China and the United States’, International Journal of Music Education, 23(1), pp. 63-72.
[19] Inspire music (2017). Musique concrete. Available at: concrete
[20] Hallam, S. and Rogers, L. (2010) ‘Creativity’, in Hallam, S. & Creech, A. (ed.) Music Education in the 21st Century in the United Kingdom: Achievements, Analysis and Aspirations, London: Institute of Education, University of London.
[21] MacCutcheon, D. et al. (2016) ‘Investigating the value of DJ performance for contemporary music education and sensorimotor synchronisation (SMS) abilities’, Journal of Electronic Dance Music Culture, 8 (1). pp. 46-72.
[22] Ofsted (2012) Music in schools: sound partnerships. Available at: (Accessed: 5 October 2012).
[23] Ofsted (2013) Music in schools: what hubs must do.
[24] Swanwick, K. (1992). A basis for music education (New ed.). London: Routledge.
[25] Hallam, S. (2010) The Aims and Provision of Music Education. Handbook of Music and Emotion
[26] Pitts, S. (1995) Chances and Choices: Exploring Impact of Music Education. Cary: Oxford University Press
[27] Byrne, C. (2005) ‘Pedagogical communication in the music classroom’, in Miel, D. et al. Musical Communication. Oxford: Oxford University Press.
[28] Wright, R. (2012) ‘Policy and practice in music education: A sociological perspective’, in Philpott, C. & Spruce, G. Debates in Music Teaching. London: Routledge.