Observations of Music Educators for Teacher Evaluation

2019 ◽  
pp. 829-850
Author(s):  
Johanna J. Siebert
Keyword(s):  
Teacher Evaluation ◽  
Teacher Effectiveness ◽  
Professional Practice ◽  
Effective Teachers ◽  
Professional Growth ◽  
Music Teachers ◽  
Music Educators ◽  
Music Teacher ◽  
Education For All ◽  
Teacher Observation

This chapter explains the rationale supporting current practices in teacher evaluation as demonstrated through the main event of the teacher observation, with a focus on their application to the professional practice of music teachers. Formal teacher evaluation models and their observation protocols are described that include recommendations for use in improving teacher performance and contributing to ongoing professional growth. The value and integrity of such practices in music teacher observation is discussed, supported by participants’ responses to a nationally administered survey that queried music teachers’ observation experiences. Of particular interest are music educators’ feelings of dissatisfaction with their observers’ lack of content expertise, both in supplying informed feedback and in evaluating their performance as effective teachers. Suggestions for addressing music teachers’ concerns are offered that reflect the goals of teacher evaluation, improved teacher effectiveness, and their inclusion in the actualization of a “well-rounded education” for all students.

Postlude

2019 ◽  
pp. 201-202
Author(s):  
Cara Faith Bernard ◽  
Joseph Michael Abramo
Keyword(s):  
Teacher Evaluation ◽  
Professional Growth ◽  
Music Teachers ◽  
Teaching Practice ◽  
Teacher Practice ◽  
Music Educators ◽  
Music Teaching

This postlude orients readers toward the larger aim of teacher evaluation most useful to music teachers: the improvement of teacher practice. Rather than providing a high score, teacher evaluation might be used as a process to reflect on music teaching with the aim of improving teaching practice. The postlude reminds the reader of some mindsets described throughout the book that will help music teachers focus on this important aim of positively using teacher evaluation as a process to “support and develop” rather than as a tool to “sort and measure” music educators. These mindsets can help music teachers reflect on their teaching and participate in teacher evaluation for professional growth, yielding a constructive experience.

Talking to Evaluators

2019 ◽  
pp. 175-200
Author(s):  
Cara Faith Bernard ◽  
Joseph Michael Abramo
Keyword(s):  
Teacher Evaluation ◽  
Professional Growth ◽  
Music Teachers ◽  
Evaluation Process ◽  
Music Educators ◽  
Evaluation Systems ◽  
Teacher Evaluation Systems

This chapter provides strategies for music educators to foster effective dialogue with evaluators and administrators in the teacher evaluation process. First, it describes the key components of teacher evaluation discussions, including the feedback, the rules and procedures required of teacher evaluation systems, and the evaluator’s and music teacher’s expectations and pressures. Second, the chapter provides advice for preparing for meetings, including the types of questions to anticipate and how to tailor answers to those questions depending on different evaluators. Next, it provides a framework for listening to and responding to feedback effectively and constructively during meetings. The chapter concludes with a description of the steps music teachers can take after meetings to spark professional growth and maintain communication with evaluators. These include immediately implementing feedback, reporting the results, and continuing dialogue to further professional growth.

Characteristics of Early Childhood and Elementary General Music Methods Coursework for Preservice Music Teachers

2021 ◽  
pp. 105708372110245
Author(s):  
Karen Salvador ◽  
Mara E. Culp
Keyword(s):  
Early Childhood ◽  
Teacher Candidates ◽  
Music Teachers ◽  
Music Educators ◽  
Music Teacher ◽  
Teacher Education Programs ◽  
General Music ◽  
Music Teacher Education ◽  
Music Methods ◽  
Elementary General Music

Although many music teacher candidates begin university studies planning to teach secondary ensembles, most will ultimately be certified to teach younger children and may be called to do so. The purpose of this study was to examine how music teacher education programs prepare preservice music educators to teach music to children from birth through elementary school through coursework. We emailed survey invitations to representatives from 512 institutions accredited by the National Association of Schools of Music to prepare music educators. We received 134 usable responses (response rate = 26%). Nearly all respondents offered elementary general music methods (EGMM), and over three quarters required EGMM for all students in initial licensure programs. Only about one in ten responding institutions offered early childhood music methods (ECMM). We describe findings on EGMM and ECMM course structures, content, and materials as well as the employment status, degree background, and other qualifications of the person who typically taught this coursework

scholarly journals Shaping Policy in Music Education: Music Teachers as Collaborative Change Agents

2020 ◽  
Vol 107 (1) ◽  
pp. 43-48
Author(s):  
Carlos R. Abril ◽  
Brent M. Gault
Keyword(s):  
Teacher Evaluation ◽  
Music Education ◽  
Student Learning ◽  
Music Teachers ◽  
Change Agents ◽  
Music Educators ◽  
Music Programs ◽  
Learning Standards

Music educators have experience working in education environments governed by shifting policies and mandates. How can music educators become agents empowered to shape, interpret, and design mechanisms for putting policy into practice? This article describes ways to understand policy and options for responding and contributing to its development and implementation. We examine how music educators have responded to two policy areas that have had a significant impact on music programs and teachers in recent years: (1) learning standards and (2) evaluation of student learning as a component of teacher evaluation. Examples in this article are meant to serve as a case in point for how music educators can become more responsive and actively engaged in policy matters.

scholarly journals Reimagining Music Teacher Collaboration: The Culture of Professional Learning Communities as Professional Development Within Schools and Districts

2019 ◽  
Vol 33 (1) ◽  
pp. 15-23
Author(s):  
Sharyn L. Battersby
Keyword(s):  
Professional Development ◽  
Professional Learning Communities ◽  
Learning Communities ◽  
Student Learning ◽  
Professional Learning ◽  
Teacher Collaboration ◽  
Music Teachers ◽  
Music Educators ◽  
Music Teacher ◽  
Collaborative Community

Music educators are continually seeking new ways to better their practice and improve student learning. Professional learning communities are a type of collaborative community that when administered successfully provide a forum for music educators to become active participants in both their own learning and that of their students. While the notion of professional learning communities has been around since the 1990s, they have received renewed attention more recently due to the adaptation and implementation of Danielson’s popular Framework for Teaching, which has been implemented in many school districts across the country. Teachers facing the challenge of reshaping the culture of their music programs and seeing their initiative sustained will devise elements that will become embedded in that (school) culture. Supportive and shared leadership, shared values and vision, and collective learning are just some of the attributes that can contribute to student learning and the professional development of music teachers.

scholarly journals Developing soft skills of music teachers through involvement in student project office activities

2021 ◽  
Vol 7 (1) ◽  
pp. 268-275
Author(s):  
Vladimir V. Dubrovskii ◽  
Yaroslav A. Gorbik ◽  
Larisa A. Pidzhoyan ◽  
Irina V. Efremova
Keyword(s):  
Project Management ◽  
Professional Training ◽  
Music Teachers ◽  
Soft Skills ◽  
Music Educators ◽  
Music Teacher ◽  
Skills Development ◽  
Professional Activity ◽  
Management Skills ◽  
Legal Documents

  The aim of this paper is to analyze the results of soft skills development of music teachers through involvement in student project office activities. The content analysis of normative and legal documents regulating professional training and professional activity of a music teacher resulted in the following soft skills content for this category of employees: communicative competences, self-management skills, critical thinking, and managerial competences. The study of music teachers' soft skills development in the process of their involvement in project activities was carried out through a pedagogical experiment. 76 students (3-4 years) of the Institute of History and Culture, 15 teachers and 12 social partners took part in the research. The conducted research confirmed the effectiveness of developing soft skills of future music educators in the process of involving students in project management. The implementation of this activity began with the creation of student project office, which is a necessary tool to organize project management in the student environment.  

Shame in Music Education: Starting the Conversation and Developing Resilience

2020 ◽  
Vol 106 (4) ◽  
pp. 36-42
Author(s):  
Mara E. Culp ◽  
Sara K. Jones
Keyword(s):  
Music Education ◽  
Teacher Educators ◽  
Music Teachers ◽  
Music Educators ◽  
Music Teacher ◽  
Resilience Theory ◽  
Negative Behaviors ◽  
Beliefs And Practices ◽  
Teachers Beliefs ◽  
And Coping

Feelings of shame may contribute to music teachers and music teacher educators being unwilling to discuss needs and concerns for fear of being judged or seen as inadequate. Shame or fear of feeling shame can also lead individuals to withdraw or perpetuate negative behaviors. Although shame is often a natural part of the human experience, the diverse nature of the content in music education, the wide variety of learners in various music education spaces, and music teachers’ beliefs and practices can be sources of shame among music teachers. This article aims to start a conversation about shame in music education and help music educators and music teacher educators feel empowered to use shame resilience theory as a means of understanding and coping with feelings of shame.

scholarly journals The Compositional Effect of Rigorous Teacher Evaluation on Workforce Quality

2021 ◽  
Vol 16 (1) ◽  
pp. 7-41 ◽  
Author(s):  
Julie Berry Cullen ◽  
Cory Koedel ◽  
Eric Parsons
Keyword(s):  
School District ◽  
Teacher Evaluation ◽  
Teacher Effectiveness ◽  
Effective Teachers ◽  
Evaluation System ◽  
Urban School District ◽  
Compositional Effect ◽  
Personnel Decisions ◽  
Personnel Policies ◽  
New System

We study how the introduction of a rigorous teacher evaluation system in a large urban school district affects the quality composition of teacher turnovers. With the implementation of the new system, we document increased turnover among the least effective teachers and decreased turnover among the most effective teachers, relative to teachers in the middle of the distribution. Our findings demonstrate that the alignment between personnel decisions and teacher effectiveness can be improved through targeted personnel policies. However, the change in the composition of exiters brought on by the policy we study is too small to meaningfully impact student achievement.

Music Teacher Education and Students with Autism

2020 ◽  
pp. 199-208
Author(s):  
Alice M. Hammel ◽  
Ryan M. Hourigan
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Autism Spectrum ◽  
Music Educators ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Knowledge And Skills ◽  
Education Community ◽  
Students With Autism ◽  
Department Of Music

As of the publication of this book, 1 in 59 children are diagnosed with autism. Therefore, it is most likely that music teachers will teach a student who is challenged by Autism Spectrum Disorder. It is well known throughout the music education community that often preservice music educators receive knowledge and skills through coursework outside the school or department of music. This chapter is designed to provide the tools and structure for music teachers to learn through well-crafted fieldwork experiences that include time in class with students on the spectrum.

The ‘good-enough’ music teacher

2008 ◽  
Vol 25 (1) ◽  
pp. 9-22 ◽  
Author(s):  
Keith Swanwick
Keyword(s):  
Teaching And Learning ◽  
Music Teachers ◽  
Student Assessment ◽  
Continuing Professional Development ◽  
Music Educators ◽  
Music Teacher ◽  
Musical Skills ◽  
Complex Processes ◽  
Youth Music ◽  
Alternative Settings

Teaching and learning are complex processes and evaluating the work of music teachers is neither obvious nor simple. The outcomes of educational transactions may not be completely or immediately apparent. Furthermore, the contexts in which musical skills and understanding are acquired are multiple, going well beyond the formal categories of ‘general’ class music teacher or the ‘private’ instrumental and vocal teacher. In many of these alternative settings, standardised student assessment or teacher evaluation processes may be inappropriate. In this paper, an approach to evaluating teaching and learning draws on Swanwick's three principles for music educators. To these three principles is added the need to understand the educational and social context in which a teacher works. These criteria help to identify the ‘good-enough’ teacher's contribution to students' musical development. The concept of the ‘good-enough’ teacher is exemplified, not in the context of conventional formal teaching settings but in a third, much less defined role, that of music leader. The extent to which music leaders contribute to their musical environment is evaluated in a study of their continuing professional development. This evaluation was initiated by Youth Music, a UK organisation working alongside the formal and community-based sectors to support music-making and training.

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