An exploration of the adoption of Inquiry-Based Learning within the teaching of musicality within the Chinese primary music classroom under the auspices of the Chinese national music curriculum

Abstract

Since the beginning of the 21st Century, China has explicitly asserted the centrality of the concept of quality within its compulsory education system, and in parallel, of aesthetics in all arts-related subject education. Simultaneously, Inquiry-Based Learning has been introduced into the Chinese curriculum on the basis that it provides a student-centred approach that aims to develop children’s potential in learning, including within it, elements of creativity as well as cognition, incorporating Musicality, a central concept of this thesis. Research suggests that young children bring rich musical experiences with them into primary school, and so teaching should begin by exploring what pupils can do and consequently extending their understanding and practice through inquiry. Yet there is scarce research into teachers’ pedagogic practice that explores musicality in this way within the primary music curriculum and particularly within a setting in which external curriculum reform is a significant structural factor impacting teachers’ practices. This study explores the possibilities of adopting Inquiry-Based Learning as an approach to primary school music learning and in which musicality is a key concept, under the Chinese Music National Curriculum. The research design utilised a combination of action research and grounded theory methodologies. Data were collected from in-class observations and after-class interviews with 2 participating teachers, and 2 different year groups. In addition, an evaluation sheet was provided to students for them to reflect on their experiences. The findings indicated that the implementation of the Inquiry-Based Learning approach allowed time and space for students to develop their musicality in the various activities, that included chorus, storytelling, musical performance, and critical questions about music. During the research, teachers could visibly see the process of such developments and, accordingly, make relevant adjustments in teaching, particularly in the adoption of inquiring and imaginative questioning. However, the results also revealed other challenges, including students’ learning status, teachers’ assessments of themselves and other external factors, arising both from the implementation of the pedagogy, and their reflections upon it. Under the constraints of time and curriculum content, the Inquiry-Based Learning approach had to be balanced with existing teaching methods to achieve the fundamental requirements of the National Curriculum. This study argues that the adoption of Inquiry-Based Learning in Chinese primary music education may develop musicality by ‘visualising music’ in children’s musical learning activities. It also dynamically links to the philosophical, pedagogical, and practical aspects of teacher education in response to curriculum reform for the compulsory primary education stage. The results suggested that further research should explore pedagogical design and praxis in countries undergoing curriculum reform within the context of music education, as well as of course exposing the possibilities of implementing Inquiry-Based Learning in music to wider international audiences and to greater and increasing scrutiny.