iAssess

2021 ◽  
pp. 126-144
Author(s):  
Elissa Johnson-Green
Keyword(s):  
Music Composition ◽  
Music Teachers ◽  
Grading System ◽  
Music Curriculum ◽  
Student Work ◽  
Grade Levels ◽  
Artistic Experience ◽  
Composition Curriculum ◽  
Musical Thinking ◽  
Background Context

For many music teachers, assessment of student work holds several challenges: How to employ a concrete grading system for an inherently subjective, artistic experience; how to organize and present content for PK-5 grade levels so that learning is both meaningful and assessable; and how to design a music curriculum that ultimately encourages a powerful connection to music long after students have left the classroom. To help teachers face these challenges, the chapter demonstrates a music composition–based curriculum in which students use an iPad and other technologies to assess themselves and demonstrate their musical thinking, their progress, and development of compositional skills through self-reflective discussions of their work. Four sections describe iAssessment: (1) the background, context, and description of the music composition curriculum; (2) the techniques used to combine technology with composition effectively; (3) a description and analysis of student work that demonstrates the development of their musical thinking; and (4) thoughts and conclusions.

The Value of Learning Collective Free Music Improvisation: Preservice Music Educators’ Perspectives

2021 ◽  
Vol 30 (3) ◽  
pp. 40-53
Author(s):  
Hoon Hong Ng
Keyword(s):  
Music Teachers ◽  
Music Educators ◽  
Music Curriculum ◽  
Group Discussions ◽  
Music Improvisation ◽  
Free Improvisation ◽  
Entrepreneurial Skills ◽  
School Music ◽  
Collaborative Skills

I conducted a case study to explore preservice music teachers’ behaviors, thoughts, and feelings when engaged in collective free music improvisation. Nine preservice music teachers were taught how to freely improvise within groups as part of a teacher education course and participated in interviews and focus group discussions. Major themes highlighted learning across three segments that emphasized communication and collaborative skills, entrepreneurial skills and risk taking, and reconciliation and transformation. I concluded that the sociomusical outcomes produced by collective free improvisation may complement those of more formal and idiomatic improvisation practices, and that by introducing preservice music teachers to free improvisation activities, they may be more willing to engage PK–12 students in free improvisation lessons that enhance the existing school music curriculum.

scholarly journals Policy at the Intersection of Curriculum and Music Teacher Agency

2020 ◽  
Vol 107 (1) ◽  
pp. 37-42
Author(s):  
Janet Revell Barrett
Keyword(s):  
Choral Music ◽  
Policy Process ◽  
Hip Hop ◽  
Music Teachers ◽  
Music Programs ◽  
Music Teacher ◽  
Music Curriculum ◽  
Policy Environments ◽  
District Initiatives ◽  
Principles Of Change

Music teachers seek imaginative openings to expand the reach and scope of the music curriculum, particularly by engaging more students in creative production and culturally relevant offerings. This article describes the work of a high school choral music educator who implemented new courses in Hip Hop Production by strategically navigating the policy process for course approval in his school district, informing the proposal with readily available data, consulting with colleagues, and aligning the purposes of the courses with district initiatives. As a case of music teachers’ curricular agency, this story illustrates valuable orientations and principles of change that open up avenues for the expansion of music programs in the context of district-level policy environments.

scholarly journals Creating a Meaningful Music Curriculum for Students With Disabilities

2019 ◽  
Vol 33 (1) ◽  
pp. 47-49
Author(s):  
Ellary A. Draper
Keyword(s):  
Special Education ◽  
Students With Disabilities ◽  
Music Teachers ◽  
Traditional Curriculum ◽  
Music Curriculum ◽  
Music Classroom ◽  
Functional Curriculum

When teaching students with disabilities, it is important for music teachers to consider the functionality of the skills taught and learned beyond the music classroom. In special education, a curriculum centered on the life-long skills important for students to be independent in their communities is called a “functional curriculum.” Before considering how to adapt a traditional curriculum for students with disabilities, music teachers can used the ideas based in functional curriculum to develop a functional music curriculum, ensuring that both students with and without disabilities are learning the skills to engage in life-long music experiences.

Integrating Social-Emotional Learning Into Our “New Normal” Teaching Elementary General Music

2020 ◽  
pp. 104837132096137
Author(s):  
Taryn Raschdorf ◽  
Brittany Nixon May ◽  
Amie Searcy
Keyword(s):  
Music Teachers ◽  
Social Emotional Learning ◽  
Music Educators ◽  
Emotional Learning ◽  
General Music ◽  
Music Curriculum ◽  
Social Emotional ◽  
Building Relationships ◽  
Music Classroom ◽  
Elementary General Music

As social-emotional learning (SEL) initiatives are being adopted by many states and school districts, many music teachers have been actively and successfully integrating SEL into their elementary general music curriculum. Whether teaching in person or remotely music educators can create an environment conducive to SEL by practicing mindfulness, building relationships with and between students, encouraging family music engagement, and engaging in inclusive music activities. In this column, you will find resources and ideas about SEL, discover how it looks and functions in the music classroom (virtual or not), and hear from music educators who currently incorporate SEL in their teaching.

Elsie Shawe, Music Supervisor in St. Paul, Minnesota (1898–1933)

2004 ◽  
Vol 52 (4) ◽  
pp. 328-342
Author(s):  
Sondra Wieland Howe
Keyword(s):  
Public Schools ◽  
Music Education ◽  
Music Teachers ◽  
National Level ◽  
The United States ◽  
National Accounts ◽  
Music Curriculum ◽  
School Music ◽  
The Board Of Directors ◽  
Music Supervisor

Elsie Shawe (1866–1962), supervisor of music in St. Paul, Minnesota, for thirty-five years, is an example of a music supervisor in the United States who was active in the formative years of the Music Supervisors National Conference (MSNC). Although she is cited only briefly in national accounts, there is a substantial amount of material on her career in local archives. In the St. Paul Public Schools, Shawe supervised classroom teachers, organized the school music curriculum, and conducted performances in the community. She served as a church organist and choir director in St. Paul and was president of the Minnesota Music Teachers Association. At the national level, Shawe was an officer of the NEA Department of Music Education and a member of the board of directors of the MSNC. Through her committee work, Shawe promoted the standardization of patriotic national songs.May 5, 2004November 10, 2004.

scholarly journals Effect of Christian Related Music on Choice of Music as a Study Subject by Muslim Students in Mombasa County, Kenya

2021 ◽  
Vol 2 (3) ◽  
Author(s):  
Sumba B. Shitambasi
Keyword(s):  
Quantitative Methods ◽  
Music Teachers ◽  
Group Discussion ◽  
National Level ◽  
Sample Population ◽  
Music Curriculum ◽  
Muslim Students ◽  
Qualitative And Quantitative Methods ◽  
School Music ◽  
The Subject

The purpose of this study was to evaluate the content of the secondary school music curriculum to establish the effect of the presence of Christian related music in the curriculum on the choice of Music as a study subject by Muslim students in Mombasa County, Kenya. The study used a survey research design. The sample population consisted of 27 participants as follows: 2 music teachers, 8 students, 8 parents, 1 Kenya Institute Curriculum Development Officer at the national level, 1 Quality Assurance and Standard Officer and 7 career masters. Data was collected through questionnaires, interviews and focus group discussion, which was analysed using both qualitative and quantitative methods. Findings show that Christian beliefs compete with Islamic beliefs thus Muslim students find it offensive to pursue the subject and learn Christian related music and values therein. In conclusion, Christianity and Islamic beliefs are two dominant religions that are competing rather than complementing religions; Muslim students find it hard to pursue music subject due to the elements of Christian related music in the curriculum. The study recommends that the choice of music subject by Muslim students is dependent on the provision of Islamic music in the music curriculum and must be incorporated to attract their enrolment.

Music teachers and their implementation of the new Music Curriculum Standards in China

2019 ◽  
Vol 37 (2) ◽  
pp. 178-197
Author(s):  
Zhuo Yu ◽  
Bo-Wah Leung
Keyword(s):  
Music Education ◽  
Rural Schools ◽  
Music Teachers ◽  
Current Knowledge ◽  
Curriculum Standards ◽  
Music Curriculum ◽  
Structured Interviews ◽  
Student Centered ◽  
Service Training ◽  
Trained Teachers

The Ministry of Education of China issued a new document of Music Curriculum Standards in 2011 substituting the old version of 2001. This study aims to investigate how music teachers in China implement and respond to the Curriculum Standards through a questionnaire survey and semi-structured interviews with voluntary teachers. A total of 2206 music teachers from 15 regions/provinces responded to the survey in 2015. Findings reveal that, after a few years of implementation, most teachers found different constraints in implementing the new curriculum. Trained teachers, younger teachers and experienced teachers are more receptive and capable in implementing the curriculum, while rural schools are still in a disadvantaged situation. Most teachers do not understand the concept of music education as aesthetic education. In-service training is found to be insufficient, especially in rural schools. In sum, the current ‘knowledge-centered curriculum’ might need to be redirected to the directions of society-centered and student-centered in order to make a balance.

Contemporary Perspectives for Curriculum Theory

2021 ◽  
pp. 77-116
Author(s):  
Thomas A. Regelski
Keyword(s):  
Music Teachers ◽  
Practice Theory ◽  
Action Learning ◽  
Curriculum Theory ◽  
Music Curriculum ◽  
Post Modernism

This chapter thoroughly examines practice theory and its more recent cousin, praxis theory. Practice theory has three aspects: theoria, technē, and praxis. It is not to be confused with the commonplace use of the word “practice.” Thus, some details are needed to correct frequent misunderstanding of the term and theory by many authors. Extensive application to musicing and music curriculum helps understand these key ideas and their importance for music teachers. In addition, action learning is stressed for its relationship to community musicing, and post-modernism is explored both for its circularity and for its critical usefulness in exposing the metanarratives of traditional schooling.

Music: a source of deep imaginative satisfaction?

1998 ◽  
Vol 15 (3) ◽  
pp. 295-301 ◽  
Author(s):  
Charles Byrne ◽  
Mark Sheridan
Keyword(s):  
Action Research ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Dynamic Network ◽  
Communication Link ◽  
Learning Approaches ◽  
Music Curriculum ◽  
Teaching Techniques ◽  
Insight Into ◽  
Air Issues

This paper gives the first insight into the establishment and development of the Strathclyde Consortium for Action Research in Learning Approaches and Teaching Techniques in Inventing (SCARLATTI) Project, and reflects on the changes to the music curriculum in Scottish secondary schools over the last twenty years. There is evidence to support the view that Inventing is an area of the curriculum which is causing music teachers some anxiety (Sheridan, 1992) and this paper examines the teaching and learning of the skills required of both teachers and pupils for the Inventing element of Standard Grade music (Byrne, 1996). The authors have launched an action research music project (Bresler, 1995; Adelman & Kemp, 1992; Treacher, 1989) which it is hoped will refocus the thinking of music teachers in schools by creating a dynamic network to provide a forum for the discussion of ideas and a means whereby experiences and materials can be shared, and new approaches and methods considered and implemented. A feature of the SCARLATTI project is a World Wide Web discussion group that will provide a communication link for schools involved in the project as well as a platform for teachers to air issues, ideas and views.

scholarly journals Music Teachers’ Perception of Music Teaching at the Stage of Early Adolescence

2021 ◽  
Vol 11 (3) ◽  
pp. 97-118
Author(s):  
Petra Brdnik Juhart ◽  
Barbara Sicherl Kafol
Keyword(s):  
Music Education ◽  
Early Adolescence ◽  
Music Teachers ◽  
Professional Competence ◽  
Music Teaching ◽  
Music Curriculum ◽  
Factors Affecting ◽  
School Music ◽  
Research Findings ◽  
General School

Based on the descriptive method of qualitative educational research, the present study explores music teaching at the stage of early adolescence in terms of general-school music teachers’ viewpoints on factors defining the planning and implementation of music teaching. The study was based on qualitative analysis of data gathered in interviews with 18 teachers from nine countries (Slovenia, Argentina, Australia, USA, Turkey, Poland, Russia, Italy and Germany). The research found that music teaching based on authentic musical communication through the activities of playing, creating and listening to music was favoured by the interviewees. Among the factors affecting the presentation of music teaching at the stage of early adolescence, the quality of curricular bases and the professional competence of music teachers were emphasised. In this context, the research findings showed that music curricula in the international context do not provide a suitable curricular base for the implementation of music teaching. The problem becomes especially salient when the competences of music teachers are insufficient for the transference of the curricular platform to musical praxis through authentic ways of musical teaching. The research findings provide an insight into the complexity of the factors involved, including authentic music teaching, the music curriculum and teachers’ competences, which determine the planning and implementation of music teaching at the stage of early adolescence. In addition, the findings provide a basis for further research in a broader context and for the development of guidelines for curricular updates and the modernisation of music education in general schools.

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