scholarly journals Teacher perceptions of A-level music: tension, dilemmas and decline

2021 ◽  
pp. 1-15
Author(s):  
Adam Whittaker
Keyword(s):  
Music Education ◽  
Teacher Perceptions ◽  
Music Teachers ◽  
Musical Training ◽  
Opportunity To Learn ◽  
Nationwide Survey ◽  
Musical Instrument ◽  
Art Music ◽  
School Curriculum ◽  
Level 3

Abstract A-level music, a qualification taken most often in English and Welsh school contexts around the age of 18, has been a long-standing feature of the musical training of many musicians. Historically bound up with Western European Art Music, the qualification has somewhat broadened its horizons in recent times, though with mixed success in opening up new ways of thinking about music. Recent research has highlighted the seemingly precarious nature of A-level music in many English schools. The reasons for this picture of decline are highly complex and difficult to disentangle, and are part of a much broader diminishing of creative subjects in the school curriculum. Decreasing numbers of A-level music entries run somewhat counter to popular policy discourse, which celebrates flagship announcements of £79 million given to Music Education Hubs in 2019–2020, and 2018 survey results that reported more than 700,000 children learning to play a musical instrument through music hub provision. However, behind these headlines, although there are many children having the opportunity to learn a musical instrument, few continue through to A-level and beyond. Despite its declining numbers, A-level music is recognised as a valuable qualification amongst music teachers, offering something distinct from graded music examinations and other Level 3 musical qualifications. This article presents the results of a recent nationwide survey of A-level music teachers to offer an insight into teacher perceptions of current A-level music specifications, the extent to which it prepares students for entry into higher musical education, and its appropriateness for aspiring young musicians.

scholarly journals Personality traits of a music teacher

2006 ◽  
Vol 38 (1) ◽  
pp. 247-263 ◽  
Author(s):  
Blanka Bogunovic
Keyword(s):  
Music Education ◽  
Personality Traits ◽  
Music Teachers ◽  
Practical Implication ◽  
Personal Characteristics ◽  
Musical Instrument ◽  
Music Teacher ◽  
Public Performance ◽  
Music Schools ◽  
Musical Education

In the context of individual musical instrument teaching, pedagogical abilities of a music teacher and the atmosphere he creates, result from his personality traits and can be of crucial importance for the initial and further progress of his students. The paper seeks to: describe the personality of a music instrument teacher, determine the differences in comparison to a group of non-musicians, and determine the position of personal characteristics in the structure of general and professional teacher profile. The sample comprised 60 individuals, teaching various musical instruments in five primary music schools. The research method is explorative and based on the use of the five-factor personality model (NEO PI-R was administered). The findings show that music teachers display a higher level of: openness, agreeableness and conscientiousness. The degree of congruence with the findings of other research is discussed and certain similarities were found, as well as differences stemming from professional and cultural specificities. Differences are proved to exist in relation to gender, musical instrument, working experience, degree of musical education and active public performance. Compared to non-musical population, it is confirmed that teachers of instrument in musical education represent a distinctive group. There are also differences between teachers who are oriented to pedagogic work only and those who, in addition, actively perform in public. Selection of teachers, according to characteristics which may be connected to students? accomplishment, is a practical implication relevant for the music education.

Enhanced Learning for Young Music Students

2016 ◽  
Vol 103 (2) ◽  
pp. 41-46 ◽  
Author(s):  
Diane Briscoe
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Musical Instrument ◽  
Music Students ◽  
Home Practice ◽  
Music Lessons ◽  
Enhanced Learning

Factors that determine the rate of a child’s progress on a musical instrument include the quality, quantity, and regularity of home practice. Because a young pupil sometimes lacks the skills necessary to practice independently at times, music teachers could encourage and motivate parents/guardians to participate more fully in their child’s music education. Sandler and Hoover-Dempsey discovered a number of variables that seem to influence parents’ willingness to become more active in school-related activities. These findings provide music teachers with insights into how to motivate adults to become more involved in their child’s music lessons.

scholarly journals Hedonistic Approach in the Musical-Rhythmic Competence of Future Music and Choreography Teachers

2019 ◽  
Vol 66 (3) ◽  
pp. 274-277
Author(s):  
Wang Yuansin
Keyword(s):  
Music Education ◽  
Applied Research ◽  
Music Teachers ◽  
Musical Training ◽  
Recent Decade ◽  
Important Goal ◽  
Music Training ◽  
Individual Approach ◽  
Active Attention

The article is dedicated to the analysis of hedonistic approach to music and rhythm competence of prospective Music and Choreography teachers. As hedonism became a focus of scholars’ active attention during the recent decade, hedonistic approach is being put forward in the article as the key one in music and rhythm competence of prospective Music and Choreography teachers. Under the current circumstances of the society’s development, the psychological follow-up of prospective Music and Choreography teachers is an important goal to attain for our country. Each personality requires individual approach; help in revealing his/her specific features; in shaping a wholesome, harmonious personality. The goal under consideration presupposes setting complicated issues for teachers and psychologists; these issues require structural, systemic and subsequent solution. The personality’s subjective welfare is not only an indicator of his/her psychic (emotional) stability, the transient (dis)adaptation states and pressure compliance resources, but also has crucial significance for perfecting the processes of a person’s overall and academic socialisation. This phenomenon requires conducting applied research as well as solving other issues. Thus, hedonistic approach to music and rhythm competence of prospective Music and Choreography teachers presupposes studying and explication. Applying a hedonistic approach to music-rhythmic competence, under appropriate pedagogical conditions, is transformed into a kind of educational and musical training, which is based on a person's need for pleasure, enjoyment and relying on a love of music education. In this way, the hedonistic approach in music education gives the process of teaching future music teachers and choreography a special appeal.Hedonistic approach to music and rhythm competence of prospective Music and Choreography teachers under the corresponding academic circumstances is being rearranged into a distinctive teaching and music training based on the prospective Music and Choreography teacher’s demand for enjoyment and delight relying on the love of music education.

scholarly journals MUSIC-MAKING IN A FAMILY – THE LIFELONG LEARNING TRADITIONS AND CHALLENGES OF HOME-LEARNING

2021 ◽  
Vol 4 ◽  
pp. 78-89
Author(s):  
Iveta Dukaļska
Keyword(s):  
Music Education ◽  
Field Study ◽  
21St Century ◽  
Formal Education ◽  
Local Community ◽  
Opportunity To Learn ◽  
Musical Instrument ◽  
Cultural Environment ◽  
Music Making ◽  
Home Learning

The aim of the present study is to compare the training of folk musical instrument play within families until 1960s in the traditional cultural environment of Latvia’s countryside to the opportunities of the same training in the early 21st century – outside the formal education but within the context of life-long learning.Data for the research were acquired in field study, questionnaires in the virtual environment, and also the information from the Internet on the offer of music schools and institutions of non-formal education in the field of musical instrument play was used.Until 1950s and ‘60s the basics of the musical instrument play were acquired by children within their respective families, with the musicians of the elderly generation being their tutors. The aspirations to become a musician were sparked by family traditions, the high esteem of a musician as a personality by the local community, as well as the child’s own willingness and perseverance in acquisition of an instrument’s technique. The field-study interviews show musicians always referring to past experience and family tradition, namely, some member of the family already was a musician – granddad, dad, uncle – while granny or mother have been good singers. In the cultural environment of 1960s’ countryside the two traditions – singing and music-making – are separated. The tradition of singing (both everyday and church) and its functioning in the local community was mainly sustained by the women, while playing the instruments was the part of the men. The children started to acquire the technique of a musical instrument roughly at the age of 6–10 years, while the full status of a musician within a community could be acquired by the aspiring player as early as at the age of 16, after having played for several times at some community events (an open-air dance “zaļumballe” or an evening get-together „večerinka” in Latgale). During that period the playing skills were acquired without the ability to read score, based on musical memory.At the end of the 20th century and the early 21st most frequently the playing skills of an instrument (like violin, clarinet or accordion) are acquired attending some institution of music education, while both children and adults have an opportunity to learn the technique of some folk instrument (zither, harmonica, little drum, etc.) within some non-formal education setting or that of an amateur group.The present study analysis the factors either helping or hindering the continuation of the folk music- making tradition in the cultural environment of the 21st century, based on the opportunities for learning the techniques within the home-learning and life-long learning contexts.  

Classroom Teachers' and Music Specialists' Perceived Ability to Implement the National Standards for Music Education

1999 ◽  
Vol 47 (2) ◽  
pp. 111-123 ◽  
Author(s):  
Susan J. Byo
Keyword(s):  
Music Education ◽  
Teacher Perceptions ◽  
Music Teachers ◽  
National Standards ◽  
General Educators ◽  
Classroom Teachers ◽  
Factors Affecting ◽  
Public Elementary Schools ◽  
Music Specialists ◽  
Grade Classroom

This study was designed as an examination of teacher perceptions about factors affecting the successful teaching of the National Standards for Music Education. Subjects of the study were music specialists and fourth-grade classroom teachers—or generalists—from public elementary schools throughout Florida. A survey was administered to both groups to determine opinions regarding the feasibility of implementing each of the nine National Standards for Music Education (singing, playing instruments, improvising, composing/arranging, reading/notating, listening/analyzing, evaluating, understanding music as it relates to other subjects, and understanding musk as it relates to history and culture) by rating seven items (contact time, resources, assistance, ability, training, interest, responsibility, and level of assistance). Results indicated that, with respect to all seven items, music specialists are considerably more amenable to the implementation of all nine standards than are general educators. Certain standards are more feasible for both music teachers and generalists to integrate, whereas others should be solely implemented by music teachers. Music specialists are less dependent on the assistance of generalists, but the generalists need the assistance of music specialists to successfully implement most standards. Both groups expressed a concern about the lack of time and resources to effectively teach what is required by most standards.

New legislation in Brazilian music education: Studying the law and its implementation

2016 ◽  
Vol 35 (1) ◽  
pp. 79-92
Author(s):  
Dwight Manning ◽  
Marilia Kamil
Keyword(s):  
Public Schools ◽  
Music Education ◽  
Music Teachers ◽  
School Curriculum ◽  
Music Educators ◽  
Educational History ◽  
National School ◽  
The Status ◽  
Private And Public ◽  
Research Findings

In 2008, Brazilian legislators approved a law that added music on a mandatory basis to the basic national school curriculum. Despite the possibilities afforded by this legislation, music educators affirm that many questions remain due to its ambiguity. Given the 2012 deadline for the implementation of this law, there is a need to understand how it was enacted across diverse settings. This study considers the implementation from the perspective of music teachers. Thus, in this interview study, we seek to understand the status of music education throughout the country according to the perspectives of music educators from private and public schools. Such perspectives are situated within reviews of educational history, legislation, policy, and research. Findings point toward the need to (a) address a shortage of music teachers; (b) better define the preparation of professional music educators; and (c) identify pedagogies which are likely to have the greatest impact in implementing this new law.

“Don’t Keep It a Secret”: E. Daniel Long and His Career in Music Education

2019 ◽  
pp. 153660061989306
Author(s):  
Jared R. Rawlings
Keyword(s):  
Public Schools ◽  
Music Education ◽  
Music Teachers ◽  
Primary Source ◽  
School Curriculum ◽  
Philosophical Beliefs ◽  
Teaching Position ◽  
Ann Arbor ◽  
Beliefs About Teaching ◽  
String Music

Music teachers are central to the effective implementation of the school curriculum; however, researchers know little about their careers in music education. In order to understand the work of music teachers, researchers must document experiences of those educators who may appear ordinary but who led extraordinary lives and careers. The purpose of this study was to create a biographical primary source on E. Daniel Long, one of the esteemed educators in American string music education during the second half of the twentieth century. Long’s memories of his life and teaching position with Ann Arbor Public Schools, alongside additional sources, were used to explore aspects of his career in music education. This article includes additional biographical information not previously documented in past interviews as well as his philosophical beliefs about teaching youth.

Learning the piano: a study of attitudes to parental involvement

2004 ◽  
Vol 21 (3) ◽  
pp. 295-311 ◽  
Author(s):  
Jenny Macmillan
Keyword(s):  
Student Achievement ◽  
Parental Involvement ◽  
Music Education ◽  
General Education ◽  
Music Teachers ◽  
Musical Instrument ◽  
Qualitative Survey

Numerous studies in general education have concluded that parental involvement improves student achievement. Research in music education indicates that parental involvement is beneficial to progress on a musical instrument. However, few music teachers are known to actively encourage it. This paper reports on a detailed qualitative survey that examines teachers', pupils' and parents' attitudes to parental involvement, the extent and nature of that involvement, and pupils' resultant enjoyment and achievement.The survey found that, while pupils and parents alike welcome parental involvement, some teachers encourage this collaboration and some do not. Teachers who (a) have pedagogical qualifications, (b) have followed specialist courses, and (c) are experienced, prove more likely to encourage parental involvement.

scholarly journals A study on family support perceived by pre-service music teachers in musical instrument education

2020 ◽  
Vol 15 (5) ◽  
pp. 1191-1203
Author(s):  
Gozde Yuksel ◽  
Güçlü Onur
Keyword(s):  
Music Education ◽  
Family Support ◽  
Music Teachers ◽  
Fine Arts ◽  
Musical Instrument ◽  
Measurement Tool ◽  
Teachers Perceptions ◽  
Service Music ◽  
Faculty Of Education ◽  
Academic Year

The aim of this study is to determine how pre-service music teachers perceive family support during the process of individual musical instrument training. The study group of the research consists of undergraduate pre-service music teachers studying at Necmettin Erbakan University Ahmet Keleşoğlu Faculty of Education Fine Arts Education Department Music Education as a major in the 2019-2020 academic year. The "Perceived Family Support Scale in Instrument Education" developed by Girgin (2015) was used as a measurement tool in the study. Percentage, frequency, arithmetic mean, standard deviation values and Shapiro-Wilk, Mann-Whitney U and Kruskal-Wallis H tests were used in the analysis of the data. As a result of the research, it was determined that pre-service music teachers' perceptions of family support and sub-dimensions in musical instrument training were at a good level. In addition, it was concluded that the pre-service music teachers' perceived level of family support was higher in cases in which the parents were married, any of the parents was engaged in a branch of fine arts, and any of the parents had an instrument experience. Keywords: family support, musical instrument training, musical education

Primary school music teachers’ professional development motivations, needs, and preferences: Does specialization make a difference?

2016 ◽  
Vol 22 (2) ◽  
pp. 196-223 ◽  
Author(s):  
Alfredo Bautista ◽  
Guo-Zheng Toh ◽  
Joanne Wong
Keyword(s):  
Professional Development ◽  
Music Education ◽  
Primary School ◽  
Music Teachers ◽  
Nationwide Survey ◽  
Music Teacher ◽  
Widespread Agreement ◽  
School Music ◽  
Teachers Professional Development ◽  
Music Education Majors

There is widespread agreement that one-size-fits-all professional development (PD) has limited potential to foster teacher learning and that PD should be ‘responsive’ to the demands of teachers with different profiles. The purpose of this exploratory study was to analyze the PD motivations, needs, and preferences of Singapore primary school music teachers according to their level of specialization in music education. This variable has been relatively unexplored within the field of music-teacher PD. A nationwide survey was run to collect the data. Participants were 286 primary music teachers (about 40% of the entire population), who were split into three groups based on their music education background (Major = 113, Minor = 64, Generalist = 109). Findings indicated that the three groups of teachers had different motivation levels to participate in music-specific PD (e.g., generalists being the least motivated), various needs for further training (e.g., music education majors being the most interested in improving their music content knowledge), and different preferences regarding PD providers and learning formats (e.g., generalists preferring to learn from other fellow colleagues within informal settings). We concluded that the level of specialization in music education plays a major role in determining teachers’ PD motivations, needs, and preferences. This study has the potential to inform the design of more responsive PD initiatives.

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