Choral Music Education

2019 ◽  
pp. 719-747
Author(s):  
Susan Wharton Conkling
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Cultural Influences ◽  
Music Educators ◽  
Music Teacher ◽  
Cultural Humility ◽  
Choral Music Education ◽  
Music Teacher Preparation ◽  
Choral Methods ◽  
Gradual Transformation

Preservice choral music teacher preparation benefits from reviews of literature, published over four decades that, taken together, document the gradual transformation of practice. These reviews of literature provide a place to begin the present chapter, followed by an update of that literature to determine where the field has remained stable and where boundaries have been challenged and expanded in the 21st century. Subsequently, a content analysis of major textbooks for choral methods courses is undertaken, revealing gaps between research and practice in these areas: (a) connecting vocal development to social development, (b) connecting teacher effectiveness to student progress, and (c) recognizing the multiple cultural influences on choral singers. The chapter concludes with a proposed framework for preparation of choral music educators, borrowed from the training of healthcare professionals, called cultural humility. Cultural humility is not intended to be learned in a classroom, but instead through ongoing clinical practice.

“I Dream a World”: Inclusivity in Choral Music Education

2017 ◽  
Vol 104 (2) ◽  
pp. 38-44
Author(s):  
Rhonda Fuelberth ◽  
Christy Todd
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Universal Design For Learning ◽  
Music Educators ◽  
Choral Music Education ◽  
Inclusive Practice ◽  
Barriers To Access ◽  
Music Standards ◽  
Design For Learning ◽  
Choral Programs

This article explores how choral music educators can facilitate access to meaningful music experiences for all students in their schools. In a changing landscape that honors equity and diversity, music education environments must also change to align with these values. To provide the optimal environment for successful inclusive practice, choral music educators should evaluate barriers to access in terms of scheduling, reconsider current curricular offerings, and imagine new solutions that support music learning for all students. Instead of structuring choral programs around traditional choral concerts and adjudications, directors can use the 2014 Music Standards and the framework of Universal Design for Learning to drive classroom content and acquire the flexibility needed to build inclusive classrooms.

scholarly journals Finding the Trans Voice: A Review of the Literature on Accommodating Transgender Singers

2018 ◽  
Vol 37 (1) ◽  
pp. 36-41 ◽  
Author(s):  
Ryan Aguirre
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Vocal Pedagogy ◽  
Music Educators ◽  
Future Research ◽  
Choral Music Education ◽  
Choral Conductors ◽  
Private Lessons ◽  
Transgender Students ◽  
Choral Classroom

Conversations surrounding transgender students are beginning to appear in the nation’s schools. In recent years, experts in the fields of music education and vocal pedagogy have shared their experiences and research on transgender issues in the choral classroom and private lessons. Studies focused on transgender issues in choral music education have yielded inconsistent results. While some have shown music educators to be supportive and accommodating, others have shown a gap in educator knowledge of transgender issues. Vocal pedagogues have had the unique opportunity to work closely with transgender singers one-on-one. Their work is highly transferable to a choral classroom setting. This review of literature synthesizes the work of choral conductors and private voice instructors with the narratives of transgender singers to provide implications for educators and a direction for future research.

An Analysis of State Music Education Certification and Licensure Practices in the United States

2017 ◽  
Vol 27 (1) ◽  
pp. 65-88 ◽  
Author(s):  
Brittany Nixon May ◽  
Karen Willie ◽  
Cherilyn Worthen ◽  
Allyssa Pehrson
Keyword(s):  
United States ◽  
Music Education ◽  
Teacher Educator ◽  
Relevant Information ◽  
The United States ◽  
Music Educators ◽  
Performance Assessments ◽  
Music Teacher ◽  
Grade Levels ◽  
Music Teacher Preparation

Teacher certification and licensure practices for music educators vary by state. Enhancing music teacher educator knowledge of state music education certification and licensure practices can inform music teacher preparation and improve future music teacher quality. The purpose of this study was to compile relevant information for music educators about the certification practices of each of the United States and the District of Columbia as of January 2016, and to examine the commonalities and differences among the states’ policies. Results revealed a movement toward comprehensive certification for all grade levels and music subject areas. Researchers noted heightened accountability through increased testing requirements and the inclusion of teacher performance assessments.

Band Project: A Model for Service Learning

2019 ◽  
Vol 38 (2) ◽  
pp. 37-45
Author(s):  
Laura K. Sindberg
Keyword(s):  
Teacher Preparation ◽  
Service Learning ◽  
Music Education ◽  
Student Teaching ◽  
Instrumental Music ◽  
Cultural Awareness ◽  
Research Question ◽  
Music Educators ◽  
Music Teacher ◽  
Music Teacher Preparation

Real-world experiences, such as situated learning, fieldwork, and student teaching have been among the most prevalent examples employed in teacher preparation programs. Despite the increasing evidence in support of service learning in music teacher preparation, there are a limited number of models specific to instrumental music education. The purpose of this study was to explore the experiences of participants in one such model, called Band Project. Participants included preservice music educators, young band students, and one lead teacher who also served as the instrumental music teacher at the school. The research question that guided this investigation was as follows: In what ways do participants in an afterschool band project describe their experience? Four themes emerged from analysis of data: (a) Relationships and Community, (b) Challenges and Tensions, (c) Aspirations, and (d) Transformations. Findings reinforced the importance of service learning for preservice music educators, particularly amid growing concerns for cross-cultural awareness, inclusion, and social justice in music teacher preparation.

Music Teacher Education Program Practices: Preparing Teachers to Work With Diverse Learners

2021 ◽  
Vol 30 (2) ◽  
pp. 51-64
Author(s):  
Mara E. Culp ◽  
Karen Salvador
Keyword(s):  
Teacher Education ◽  
Preservice Teachers ◽  
Music Education ◽  
Teacher Educators ◽  
Teacher Education Program ◽  
Music Educators ◽  
Diverse Learners ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Education Programs

Music educators must meet the needs of students with diverse characteristics, including but not limited to cultural backgrounds, musical abilities and interests, and physical, behavioral, social, and cognitive functioning. Music education programs may not systematically prepare preservice teachers or potential music teacher educators for this reality. The purpose of this study was to examine how music teacher education programs prepare undergraduate and graduate students to structure inclusive and responsive experiences for diverse learners. We replicated and expanded Salvador’s study by including graduate student preparation, incorporating additional facets of human diversity, and contacting all institutions accredited by National Association of Schools of Music to prepare music educators. According to our respondents, integrated instruction focused on diverse learners was more commonly part of undergraduate coursework than graduate coursework. We used quantitative and qualitative analysis to describe course offerings and content integration.

Perceptions of Beginning Teachers, Their Mentors, and Administrators Regarding Preservice Music Teacher Preparation

2002 ◽  
Vol 50 (1) ◽  
pp. 20-36 ◽  
Author(s):  
Colleen Conway
Keyword(s):  
Teacher Preparation ◽  
Music Education ◽  
Beginning Teachers ◽  
Music Teacher ◽  
Teacher Preparation Program ◽  
First Year ◽  
Preparation Program ◽  
First Year Teachers ◽  
Validity Of Results ◽  
Music Teacher Preparation

The purpose of this study was to evaluate the preservice music teacher preparation program at a large midwestem university (in this article called “BTU” for “Big Ten University”) through an examination of the perceptions of beginning teachers and their mentors and administrators. Primary research participants included seven first-year teachers from BTU's class of 1999 and seven first-year teachers from the class of 2000. Data from these participants included individual interviews, focus group interviews, teacher journals, classroom observations by the researcher, mentor interviews, administrator interviews, and responses on an open-ended “End-of-Year Questionnaire.”In addition, secondary participants (n = 11) completed the End-of Year Questionnaire regarding their first-year experiences and the teacher preparation program. Results and discussion include descriptions of the perceptions regarding the most valuable parts of preparation and the least valuable parts of preparation, as well as suggestions for preservice teacher preparation made by teachers, mentors, administrators, and the researcher. Issues of validity of results and transferability of findings to other settings are discussed in addition to possible implications for teacher education and music education program evaluation research.

Choral Music Education

1984 ◽  
Vol 70 (8) ◽  
pp. 27-28
Author(s):  
Fred Willman
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Choral Music Education

Investigating Choral Pedagogies

2017 ◽  
Author(s):  
Martin Ramroth
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Private School ◽  
Cultural Landscape ◽  
Western Europe ◽  
Organizational Context ◽  
Choral Music Education ◽  
Community Choir ◽  
Music Education Programs

While Western Europe heralds a celebrated tradition of classical choral music, conductors and choral pedagogues from other continents are often astounded to learn of the disparities among choral music education programs throughout the region. This chapter sets out to contextualize the role of music education in the curricula of the typical public or private school, and how private enterprise has evolved to provide music opportunities for those pursuing musical artistry and classical training. Does choral art thrive in a more diverse cultural landscape and a less regulated environment? How does the organizational context of school choir, church choir, community choir, choir club, or private initiative, predispose and shape the choral experience and the success of its endeavors? Is there a European methodology to teach choral music? Finally, how are artistic concepts such as the quest for a “German” choral music passed on?

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.

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