Abstract
Over the course of the last few decades, the study of Literacy in Greece has evolved. Literacy, which used to mean “the ability to read and write,” is presently also being employed to declare one’s ability to function in a specific cultural environment which is also characterized by a specific type of literacy. As literacy continues to be studied by a wider range of fields, the flourishing theory empowers further research. Music(al) Literacy is a field recently developed in line with this broader meaning. It considers the literacy of music as something beyond just “reading and writing” music. In the 20th century, new perceptions of music art also broadened our interest in Sound. Research is now available on the topics of “Auditory,” “Acoustic,” “Aural,” “Audio,” “Sonic,” “Hearing,” “Listening,” and, sometimes, “Sound” Literacy. This thesis examines Music Literacy as well as the “Literacy of Sound” (ηχητικός γραμματισμός). The Literacy of Sound is gradually becoming its own separate fie ...
Over the course of the last few decades, the study of Literacy in Greece has evolved. Literacy, which used to mean “the ability to read and write,” is presently also being employed to declare one’s ability to function in a specific cultural environment which is also characterized by a specific type of literacy. As literacy continues to be studied by a wider range of fields, the flourishing theory empowers further research. Music(al) Literacy is a field recently developed in line with this broader meaning. It considers the literacy of music as something beyond just “reading and writing” music. In the 20th century, new perceptions of music art also broadened our interest in Sound. Research is now available on the topics of “Auditory,” “Acoustic,” “Aural,” “Audio,” “Sonic,” “Hearing,” “Listening,” and, sometimes, “Sound” Literacy. This thesis examines Music Literacy as well as the “Literacy of Sound” (ηχητικός γραμματισμός). The Literacy of Sound is gradually becoming its own separate field within the realm of Primary Education. Through the use of the Action Research approach, the author simultaneously acts as both researcher and primary school music teacher. In the process, and after the planning, acting, observing and reflecting upon the school reality, certain methodologies were developed to enhance Music Literacy by inventing appropriate solutions. Furthermore, this research explores how music literacy is being implemented daily, by focusing primarily on the presence and use of musical instruments in the teaching process. In an effort to define a “musical instrument” according to the criteria of the theoretical construct of “Instrumentality,” we examine a variety of applications of musical instruments in the classroom as well as in the school’s Music Lab. An instrument carries its own “software” as it were, with its own social and cultural substance, and as such is much more than a simple construction. Literacy helps us to bring this substance to the surface and reclaim it in the teaching process. In the establishment of a working definition for “Instrument Literacy,” and through the utilization of this theory in the analysis of teaching practices and school life, certain conclusions have been produced. Through engaging with the students as in a functioning orchestra, we have furthermore developed the concept of “disciplinary literacy,” that is to say the literacy based on a discipline’s methodology. The research findings of these efforts have been presented accordingly: “The Notes and their Meaning in Music Teaching” (pertaining to issues regarding the European and Byzantine music systems), “The Role of Instrument Tuning,” “Notation Systems for Teaching,” “Body Percussion at School,” “Teaching Aids for Representative Musical Instruments,” “Workbooks and Other Teaching Aids,” “Framework for a ‘One Instrument for Every Student’ Policy,” and lastly “The School Drum Set.” Questions that this research seeks to address include: “What is an instrument and how is it related to literacy?” “What is the essence of Instrument Literacy and what is its contribution to Music Literacy?” as well as “How do musical instruments enhance critical music literacy?” After an examination of Music Literacy and the Literacy of Sound in Primary Education, and through the use of the aforementioned literacy theories, we are able to reach interesting conclusions about the educational process. These findings will be useful to the teacher who wants to empower his work in the classroom, useful to the researcher of educational theory, and useful to all those with related interests.
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