Musical involvement outside school: How important is it for student-teachers in secondary education?

2010 ◽  
Vol 27 (2) ◽  
pp. 151-170 ◽  
Author(s):  
Dimitra Kokotsaki
Keyword(s):  
Student Teachers ◽  
Music Teachers ◽  
Performance Standards ◽  
Music Teacher ◽  
Music Making ◽  
School Music ◽  
Perceived Impact ◽  
And Performance ◽  
High Level ◽  
Graduate Certificate

This study aims to assess the perceived impact of Post-Graduate Certificate in Education (PGCE) music students' engagement in music making outside school on their teaching. Fifty-one students training to become secondary school music teachers in England were asked to report on the perceived impact that their participation in music making outside school had on their lives during their training and on its expected impact as a qualified music teacher. They believed that being musically involved outside school has both personal and professional benefits for them as it has the potential to increase their anticipated job satisfaction as qualified teachers and help them become better teachers. They all expressed a desire to be involved in such musical activities as qualified music teachers because they felt that these can help them maintain their enthusiasm, be more confident and motivated, and keep their technique and performance standards to a high level.

scholarly journals Quality of Service to the Regional Road Transport Service

2016 ◽  
Vol 1 (2) ◽  
pp. 216
Author(s):  
Suela E.Shpuza
Keyword(s):  
Quality Of Service ◽  
Customer Service ◽  
Performance Standards ◽  
Road Transport ◽  
Service Organizations ◽  
Transport Service ◽  
Lack Of Information ◽  
And Performance ◽  
High Level

Performance is measured and done, the quality represents a key element to achieve the performance, especially customer service quality. In response to the pressure of globalization, the market increasingly competitive and volatile market dynamics that, many organizations actively seeking ways to add value to their services and improve their quality of service. Organizations usually tend to make their operations efficient priority. This process begins with the assessment of nevojave customers, their requirements and assessing the performance of domestic human resources in organization and performance depends on the outcome of the estimated earlier. Since this process can proceed in different directions. The causes of these results may be the lack of information and support of high-level management, performance standards unclear, inaccuracies assessors, very large number of forms to be completed and the use of software for the opposite purpose.

scholarly journals A Return to Amateurism in Music Education

2019 ◽  
Vol 106 (1) ◽  
pp. 31-37
Author(s):  
John Kratus
Keyword(s):  
High School ◽  
Teacher Education ◽  
Twentieth Century ◽  
Music Education ◽  
Music Teachers ◽  
American Music ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Music Making ◽  
Large Ensembles

The future of American music education may be found in its past—a time when music teachers instilled lifelong amateur music-making in their students. There are differences between amateur and professional musicianship, and the focus of American music education shifted from amateurism to semiprofessionalism in the mid-twentieth century. An orientation toward semiprofessionalism makes little sense given the limited performance opportunities in large ensembles after high school and college. This article suggests a way back to nurturing amateurism and highlights two obstacles to this goal: the inflexibility of music teacher education and the profession’s reluctance to accept popular music. The article concludes with a narrative of what a world of amateur musicianship looks like.

Addressing the concerns of conservatoire students about school music teaching

2005 ◽  
Vol 22 (1) ◽  
pp. 63-75 ◽  
Author(s):  
Janet Mills
Keyword(s):  
Secondary School ◽  
Royal College ◽  
Positive Attitude ◽  
Music Teachers ◽  
Music Teacher ◽  
First Year ◽  
Music Teaching ◽  
School Class ◽  
Secondary Music ◽  
School Music

While most of the students who graduate each year from the Royal College of Music (RCM) in London build performance-based portfolio careers that include some teaching, very few of them enter secondary school class music teaching. This article describes how young musicians' concerns about the career of secondary class music teacher develop as they move from sixth former to first year RCM undergraduate to third year undergraduate, and proposes some ways in which these concerns may be addressed. RCM students often agree strongly with statements consistent with a positive attitude to teaching, such as feeling a sense of achievement when pupils learn, and considering that teaching is about helping pupils realise their musical potential. However, they also tend to think that secondary class music teaching is not ‘doing music’. Successful secondary music teachers may take a different view, and the effect on RCM students of working with such teachers is reported descriptively.

scholarly journals Vocal Education in Kazan: From Amateur Music Playing to Professional Training

2021 ◽  
Vol 9 (SPE2) ◽  
Author(s):  
Yulia Aleksandrovna Martynova ◽  
Dmitry Yevgenyevich Martynov ◽  
Alina Mikhailovna Sukhova ◽  
Leila Aivazovna Nurgalieva
Keyword(s):  
Music Education ◽  
Professional Training ◽  
Music Teachers ◽  
Cultural Center ◽  
Professional Performance ◽  
Music Making ◽  
And Performance ◽  
Gathering Place ◽  
Xix Century ◽  
Historical Methods

The article is devoted to vocal education in Kazan as part of a general cultural process. Kazan as “a gathering place of two worlds – the Western and the Eastern”, was the leading music and cultural center. This city was simultaneously one of the largest provincial centers of Russian culture, and Muslim Tatar’s. During the XIX century in Kazan not only amateur music-making was actively developed but also were created music-public associations and private music teachers became widespread. The concert and performance in Kazan inevitably went through single phases and stages of development common to the whole country. Over time, amateur performance gives way to professional performance. The article is used a set of humanitarian and historical methods. The materials may be interesting for researchers of music education in Russia, as well as Russian provincial culture.

Lessons from Lithuania: Teacher beliefs and behaviors in teaching young children to sing

2019 ◽  
Vol 38 (4) ◽  
pp. 593-612
Author(s):  
Debra G. Hedden
Keyword(s):  
Music Teachers ◽  
Study Data ◽  
Music Teacher ◽  
Successful Teachers ◽  
Music Teacher Preparation ◽  
School Music ◽  
Naturalistic Case Study ◽  
And Behaviors ◽  
Case Study Data

The purpose of this naturalistic case study was to uncover beliefs and behaviors of successful teachers who produced excellent children’s singing in Lithuania. The research questions guiding the study were: What particular beliefs did music teachers hold about their ability to teach children to sing and the necessary components to teach children good singing? What specific behaviors did music teachers exhibit and embrace in public and singing school music classes to achieve good singing that is accurate, tuneful, resonant, expressive, and in head voice? In this naturalistic case study, data from informants ( N =18) consisted of interviews ( n = 12) and observations in their classrooms ( n = 22) and concerts ( n =7) in an urban area in a city in Lithuania. The conceptual framework underpinning the study was supported by the data, relating to their beliefs and behaviors about their knowledge and skill in teaching, their use of a variety of teaching strategies, and their use of highly sequenced literature. Of most importance was that they emphatically lived their beliefs in order to achieve success with children’s singing. Implications are offered that relate to music teacher preparation.

Composing and performing in the key stage 3 classroom: a study using multi-trait, multi-method analysis

2013 ◽  
Vol 31 (1) ◽  
pp. 5-18 ◽  
Author(s):  
Andrew Fowler
Keyword(s):  
Secondary School ◽  
Convergent Validity ◽  
Music Teachers ◽  
Teacher Rating ◽  
Self Report ◽  
Musical Activity ◽  
School Music ◽  
Assessment Guidelines ◽  
And Performance ◽  
Musical Understanding

‘Music is both a creative and a performing art’ (Hallam, 2006, p. 70). Many musicians and music educators maintain that composing and performing, although related, are essentially different aspects of musical activity. In the professional musical sphere, composition and performance are almost invariably separated; academic studies have treated them discretely; GCSE and ‘A’ level specifications assess them distinctly, and many music teachers assess them in the classroom as if they were separate disciplines. It is common practice for students in the lower secondary school in England to work in a more integrated way, however (Philpott, 2001; Major, 2008), composing, performing to the class, and appraising each others’ work. Recently produced assessment guidelines for secondary school music teachers in England (NAME, 2011) encourage this more integrated view, accepting the assumption made by Swanwick and Franca (1999, p. 12) that ‘musical understanding is a broad conceptual dimension’ by considering composing and performing as inter-linked ways of demonstrating and communicating musicality. This study sets out to investigate the links between composing and performing in the secondary school classroom, through peer-rating, teacher rating and students’ self-report attitudinal questionnaires, analysing these using a multi-trait, multi-method technique.Evidence for convergent validity was found between performing and composing in the classroom, suggesting that they are closely linked and may indeed be related parts of the same trait. This may have implications for the ways in which composing and performing are taught and assessed. A larger-scale study could be undertaken to investigate this further.

First Remembrances of Wanting to Become a Music Teacher

2002 ◽  
Vol 50 (4) ◽  
pp. 323-332 ◽  
Author(s):  
Clifford K. Madsen ◽  
Steven N. Kelly
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Teacher ◽  
Qualitative Assessment ◽  
Factors Affecting ◽  
College Age ◽  
Preparatory Program ◽  
School Music ◽  
Music Education Majors ◽  
Areas Of Interest

In the study described here, we used an open-ended written essay to identify the factors that lead students to become music teachers. Ninety music education majors were given the instructions to indicate in their own words their earliest remembrances of when they considered becoming a music teacher, including age, place, who was with them, how they felt, their thoughts at the time, and any other aspects they considered important. Essays were analyzed and classified according to these areas of interest; additionally as a more qualitative assessment, total responses were analyzed to discern some of the nuances evidenced in individual responses. Results indicated that the age at which the decision was made and influential people in their lives were the most important factors affecting these subjects' decision to become a music teacher. The decision was vividly remembered, with school music teachers exerting the primary influence. Of the subjects, 76% decided to become a music teacher before entering a teacher preparatory program. Students who did not decide until they were of college age remained ambivalent about their choice.

Authentic-Context Learning Activities in Instrumental Music Teacher Education

2001 ◽  
Vol 49 (2) ◽  
pp. 136-145 ◽  
Author(s):  
Stephen J. Paul ◽  
David J. Teachout ◽  
Jill M. Sullivan ◽  
Steven N. Kelly ◽  
William I. Bauer ◽  
...  
Keyword(s):  
Student Teachers ◽  
Student Teaching ◽  
Instrumental Music ◽  
Teaching Effectiveness ◽  
Music Teacher ◽  
Music Student ◽  
Context Learning ◽  
Low Levels ◽  
High Level ◽  
Authentic Context

The purpose of this study was to examine the relationship between the frequency of particular authentic-context learning (ACL) activities during undergraduate instrumental music teacher training and the initial teaching performance (ITP) of undergraduate instrumental music student teachers. Subjects (N = 30) were instrumental music student teachers at four major universities. Four ACL activities, identified from the literature and limited to instrumental music settings, included (a) early field experience teaching episodes, (b) peer-teaching episodes, (c) episodes of subjects watching videotapes of their teaching, and (d) episodes of subjects watching videotapes of their teaching with a coaching instructor. ITP was determined by evaluating teaching episodes, which occurred within the first 3 weeks of student teaching, using the Survey of Teaching Effectiveness (Hamann & Baker, 1996). Significant correlations were found between ITP and three of the four ACL activities. In addition, an overall ACL experience value was calculated and categorized into high, medium, and low levels. Those with a high level of ACL experiences were significantly better teachers than those with medium or low levels of ACL experiences.

scholarly journals Concert and performance activity in professional training of future teacher of music art

2020 ◽  
Author(s):  
Skuratovska Mariya
Keyword(s):  
Professional Training ◽  
Music Teachers ◽  
Educational Process ◽  
Future Teacher ◽  
Music Teacher ◽  
Personal Significance ◽  
The Future ◽  
Personal Approach ◽  
And Performance ◽  
The Individual

Concert and performance activity is an important component for future music teachers. It encourages them to analyse their needs, interests, inclinations. It contributes to the formation of personal significance, emotional confidence, ensures the independence of the performer in the process of professional training. Thus, the insufficient elaboration of the problem of preparation of a future music teacher for concert and performance activity becomes an actual one in the art educational process. The article is devoted to the problem of concert and performance activity of a future music teacher in the process of professional training. It reveals the principles of forming the readiness of a future teacher of music for concert and performance practice, analyses the research on this issue. The purpose of the article is to reveal the influence of the concert and performance activity as a kind of artistic creativity on the process of professional training of a future music teacher. The scope of research on this issue includes the definition of the most effective ways and methods of preparing future music teachers for concert and performance activity, as well as numerous aspects of the creative process in which the future musician-performer is involved. The methods and techniques of diagnosing the characteristics of an individual and his performance qualities are of particular importance. This allows identifying “problem issues” that require active pedagogical influence to overcome existing shortcomings. Universal approaches (systemic, axiological, competence) must be constantly combined with individual-personal, which takes into account the features (physiological, mental, ideological, etc.) that are specific to this person and that distinguish him from everyone else. The individual-personal approach is one of the most important tasks of studying the professional and spiritual formation of the person for the future music teacher. It defines the ability to create his / her own original musical world embodying the maintenance and values of a mussician-performer as the basic criterion of the readiness for professional concert and performance activity.

What cooperating music teachers say about educative mentoring: A focus study research project

2018 ◽  
Vol 41 (2) ◽  
pp. 171-188 ◽  
Author(s):  
Joseph Michael Abramo ◽  
Mark Robin Campbell
Keyword(s):  
Teacher Education ◽  
Student Teachers ◽  
Cooperating Teachers ◽  
Music Teachers ◽  
Music Teacher ◽  
Teacher Education Programs ◽  
Education Practice ◽  
Individual Interviews ◽  
Teaching Music ◽  
Educative Mentoring

In this study, we examine and provide a framework for “educative mentoring” by investigating five cooperating music teachers’ experiences and strategies of serving as mentors to student teachers. Data collection included a survey, focus groups, and individual interviews. The themes that arose suggest that cooperating teachers use narratives and wait for educative moments to emerge rather than preparing them ahead of time when mentoring. Cooperating teachers also wanted more guidance from the teacher education programs they serve. From this, we suggest that educative mentoring for the cooperating teachers was structured by the negotiation of three dialectical relationships: reflecting versus modeling; emergence versus purposefulness; and learning to teach in specific contexts versus preparation that transfers to teaching music in all settings. These findings may inform music teacher education practice and research by providing a framework for how cooperating teachers support novice teachers’ educational growth and providing cooperating teachers with the guidance they may desire from universities.

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