Why Would We Use Technology in the Elementary Music Classroom?

2020 ◽  
pp. 11-18
Author(s):  
Amy M. Burns
Keyword(s):  
Learning Styles ◽  
Music Educators ◽  
Elementary Music ◽  
Space Technology ◽  
Student Centered ◽  
Music Classroom ◽  
Music Making ◽  
Elementary Music Educators

If the music classroom is meant to be a creative, safe, music-making space, how do educators balance technology in that space? Technology can be used in the simplest teacher-directed ways, as well as in a more student-centered “doing music” environment, depending on how the teacher wants to utilize it and how the students respond to it. Using approaches like Dr. Ruben Puentedura’s SAMR (Substitution, Augmentation, Modification, and Redefinition) model and Liz Kolb’s Triple E (Engage, Enhance, Extend) Framework can help elementary music educators realize how much technology they want to use and when it would be the best tool for the students’ learning styles.

Technology Integration with the Kodály Approach

2020 ◽  
pp. 85-138
Author(s):  
Amy M. Burns
Keyword(s):  
Higher Order Thinking ◽  
Thinking Skills ◽  
Music Educators ◽  
Elementary Music ◽  
Zoltan Kodaly ◽  
Higher Order Thinking Skills ◽  
Music Classroom ◽  
Elementary Music Educators ◽  
Educational Paradigm ◽  
Paradigm Shifting

Amy M. Burns integrates technology into the approach developed by Zoltán Kodály. With the current educational paradigm shifting to include more distance learning, these lessons demonstrate how to create online manipulatives that can be used in a classroom setting as well as an online platform. With the addition of a supplemental website that includes downloadable manipulatives, elementary music educators can successfully teach the approach in a variety of settings and scenarios with novice to advanced technological skills. In addition, the lessons can also be used for assessments, cross-curricular connections, higher order thinking skills, and sharing music making outside of the music classroom.

Technology Integration with the Orff Schulwerk Approach

2020 ◽  
pp. 143-172
Author(s):  
Amy M. Burns
Keyword(s):  
Distance Learning ◽  
Learning Styles ◽  
Learning Environments ◽  
Music Educators ◽  
Traditional Classroom ◽  
Elementary Music ◽  
Online Platform ◽  
Orff Schulwerk ◽  
Elementary Music Educators ◽  
Recent Developments

Amy M. Burns integrates technology into the Orff Schulwerk approach so that students with various learning styles can successfully create and make music. With the recent developments of teaching through distance learning, these lessons assist elementary music educators in teaching from a traditional classroom setting to teaching in an online platform. In addition, the supplemental website gives teachers downloadable manipulatives to successfully use in a variety of learning environments.

Using Technology with Elementary Music Approaches

2020 ◽  
Author(s):  
Amy M. Burns
Keyword(s):  
Music Education ◽  
Veteran Teachers ◽  
Music Educators ◽  
Project Based Learning ◽  
Elementary Music ◽  
Orff Schulwerk ◽  
Music Classroom ◽  
Integrated Technology ◽  
Integrating Technology ◽  
Elementary Music Educators

Using Technology with Elementary Music Approaches is a comprehensive guide to how to integrate technology into the popular elementary music approaches of Dr. Feierabend’s First Steps, Kodály, and Orff Schulwerk. It also includes ideas of integrating technology with project-based learning (PBL). It is written for elementary music educators who want to utilize technology in their classrooms, or possibly fear using technology but are looking for ways to try. It can be used by new teachers, veteran teachers, teachers with very limited technology, teachers with 1:1 devices in their music classroom, and undergraduate and graduate students. Edited and authored by Amy M. Burns, this book contains ideas, lessons, a supplemental website for resources, and examples that are field-tested and utilized in her own elementary music classroom. Burns has successfully integrated technology into her elementary music classroom for over two decades. She is a sought-after presenter and keynote speaker for integrating technology into the elementary music classroom and has written three additional books and numerous articles on the subject. She has also won four music education awards at state and national levels. In addition, the summary of each approach was written by four excellent elementary music educators and experts in the approaches: Dr. Missy Strong (Feierabend), Glennis Patterson (Kodály), Ardith Collins (Orff Schulwerk), and Cherie Herring (project-based learning (PBL) with music technology).

scholarly journals Successful urban elementary music educators : a phenomenological investigation

2021 ◽  
Author(s):  
◽  
G. Preston Wilson
Keyword(s):  
Music Education ◽  
Comparative Method ◽  
Music Educators ◽  
Elementary Music ◽  
Structured Interviews ◽  
Music Educator ◽  
Music Classroom ◽  
Urban Music ◽  
Pedagogical Decisions ◽  
Elementary Music Educators

The purpose of this study was to explore the characteristics and experiences of teachers who have been successful in urban elementary music classrooms. I aimed to garner an authentic picture and capture the essence of what it means to be a successful urban elementary music educator. This hermeneutic phenomenology was guided by two research questions: (1) What are the lived experiences of urban music educators who have been successful in teaching music at the elementary level? (2) What are the pedagogical approaches used by elementary music educators in urban contexts? The related sub-questions were as follows: (1) What characterizes success in the urban elementary music classroom? (2) What are characteristics of these educators (e.g., personal, educational, interpersonal)? Data collection included approximately 60-minute semi-structured interviews from eight participants. A constant comparative method was utilized to examine the coded transcripts. Trustworthiness was established through data triangulation, participant checking, and peer checking. Through the three-part analysis, six themes emerged: (a) relationships are key; (b) understanding how music functions for students; (c) willingness to perform unofficial job duties; (d) concerns about urban teacher preparation; (e) curricular and pedagogical decisions; and (f) urban music teacher characteristics. The findings of this study, as well as that of other scholars in music education, suggest that being a successful urban elementary music educator is the result of a composite set of skills. The teachers who participated in this study use creativity when making curricular and pedagogical decisions, possess a complex knowledge and understanding of their students, their students' families, and their students' community, and have a deep affection for what they do and whom they serve. Successful urban elementary music educators can serve as valuable resources to provide understanding and offer suggestions for improving urban music education, including ways to nurture and develop the next wave of music educators.

What Is This Book About?

2020 ◽  
pp. 1-10
Author(s):  
Amy M. Burns
Keyword(s):  
Music Educators ◽  
Digital Natives ◽  
Elementary Music ◽  
Efficient Tool ◽  
Music Classroom

Technology evokes numerous feelings in educators, from frustrations to joy, when they try to utilize it in the classroom. It has the ability to be a very purposeful and efficient tool when used correctly. Research is showing that technology is becoming more prominent in education as more schools are adopting 1:1 technology. In addition, music educators are being evaluated on ways they use technology in their classrooms. Finally, educators are now teaching students who are digital natives. With all of this in mind, when technology is used well and has a meaningful purpose in the elementary music classroom, embracing it can enhance and bring another level of success to students.

Choosing Engaging Tools for the Music Classroom

2021 ◽  
pp. 43-55
Author(s):  
James Thomas Frankel
Keyword(s):  
Case Studies ◽  
Music Teachers ◽  
Music Educators ◽  
Music Classroom ◽  
Software Designers ◽  
Music Making ◽  
The World ◽  
Software And Hardware ◽  
Teaching Learning ◽  
Music Classrooms

Over the course of the past fifty years, countless software and hardware products have been introduced into music classrooms around the world with varying degrees of pedagogical success. The majority of these products were geared toward professional and amateur musicians and composers, only to be introduced to music teachers, either organically (teachers bringing real-world products into their classrooms) or through the efforts of manufacturers to obtain a new revenue stream for their products by selling them to schools. Knowing this, teachers often find it difficult to become aware of, identify, and choose these tools for use in their classroom instruction. The chapter presents key elements in successfully identifying and implementing creative, intuitive, and engaging tools for teaching, learning, and music making in the music classroom, as well as measuring their efficacy. Case studies focusing on the practices of several music educators are presented, including interviews with the software designers to illuminate the process behind innovative design. In addition to these case studies, a discussion of current products and their individual features and design ethos is given, with an emphasis on concepts instead of brands and devices.

Technology Integration with First Steps

2020 ◽  
pp. 27-74
Author(s):  
Amy M. Burns
Keyword(s):  
Technology Integration ◽  
Distance Learning ◽  
Music Educators ◽  
Elementary Music ◽  
Classroom Setting ◽  
Recent Introduction ◽  
Elementary Music Educators ◽  
Technological Skills ◽  
Online Format

Amy M. Burns integrates technology into the 8-step workout offered in Dr. Feierabend’s First Steps in Music series. With the recent introduction of distance learning, these lessons not only can be used in a classroom setting but can also be used in an online format. With downloaded manipulatives from the supplemental website, elementary music educators can utilize these lessons with a variety of classroom settings, as well as with novice to advanced technological skills.

Developing a Student-centered and Inclusive Music Classroom

2011 ◽  
Author(s):  
Alice M. Hammel ◽  
Ryan M. Hourigan
Keyword(s):  
Teaching And Learning ◽  
Music Educators ◽  
Inclusive Classroom ◽  
Music Teaching ◽  
Students With Special Needs ◽  
Student Centered ◽  
Music Classroom ◽  
Contingent Praise ◽  
Close Supervision ◽  
Teaching Music

Classroom behavior is a common concern among many music educators. This is particularly true for music educators who teach in inclusive settings. This chapter is designed to provide effective tools and strategies at the micro-level (e.g., behavior and management techniques), and the macro-level by informing the reader of philosophical underpinnings that encompass a successful inclusive classroom. The socialization and lasting relationships that all students develop in school are also of considerable importance. Therefore it is imperative for music educators to strive for a caring, inclusive environment that is conducive for all students to learn. The practical strategies suggested at the end of this chapter are presented to encourage music educators to create a tolerant, caring classroom that is conducive for music teaching and learning. Many of the techniques discussed in this chapter are just examples of good teaching regardless of what population of students you are teaching. Effective classroom management begins long before the students enter the music room. A well-prepared environment is essential for optimal instruction and is particularly important when teaching music to students with special needs. This groundwork can be time-consuming and requires a thoughtful approach to the classroom setting; however, it is well worth the planning when the classroom becomes an inclusive and student-centered environment. Conroy, Sutherland, Snyder and Marsh (2008), explains that specific teacher interventions can lead to improved student behavior. These interventions include: (a) close supervision and monitoring, (b) classroom rules, (c) opportunities to respond, and (d) contingent praise. As music educators, we can apply these principles to music classrooms. The next section of this chapter is designed to relate these interventions to music teaching and learning, and to provide strategies for music teachers. Close supervision and monitoring. Conroy et. al found that close supervision and monitoring can by implemented in the music classroom in the following ways: (a) student proximity to the teacher; (b) a music teacher’s ability to visually monitor all students; (c) active engagement with students; (d) student access to teacher; and (e) ratio of adults to students that is conducive to close supervision.

Pedagogical Decision-Making

2017 ◽  
pp. 494-502
Author(s):  
Ryan Bledsoe
Keyword(s):  
Decision Making ◽  
Music Educators ◽  
Teacher Conceptions ◽  
Creative Processes ◽  
Music Classroom ◽  
Teacher Confidence ◽  
Music Making ◽  
Teaching Music ◽  
Teacher's Perspective ◽  
School Curricula

The implementation of technology may present challenges to music educators. These challenges include varying levels of teacher confidence with technology and aspects of creative processes such as student exploration; teacher conceptions of when music happens, risk, and failure; and school curricula. This chapter provides examples of these challenges from a music teacher’s perspective. One of the questions from my own practice is in what ways could students be makers, tinkerers, or engineers in the music classroom? I identify three principles that guide my own implementation of technology in a creativity-driven music classroom. These principles are not unique to teaching music with technology, and could underlie all music-making experiences for children.

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