Striving for Justice with Determination and Hope

2015 ◽  
pp. 657-668
Author(s):  
Janet R. Barrett
Keyword(s):  
Social Justice ◽  
Culturally Responsive ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Music Educators ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Imaginative Thinking ◽  
The Times ◽  
Persuasive Arguments

Social justice is an intellectual ideal and an educational movement, as well as a fervent desire held by individuals committed to respecting the worth of persons. This epilogue situates music educators within this broad landscape of theories, perspectives, and practices. For the field to embrace socially just practices as commonplace—answering the call with determination—good work must be initiated on many fronts. Music educators can draw on the clear and persuasive arguments offered here for expanding visions of music teaching and learning, while grappling with multidimensional challenges that attend social justice. This professional transformation will depend upon imaginative thinking and critical awakening, especially in contradistinction to the pervasive neoliberal milieu of the times. Music teacher education holds special promise for developing and strengthening teachers’ commitments to equitable, culturally responsive, and liberatory practices, especially when focused on dispositions that cultivate music teachers’ sense of agency and caring.

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

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.

Naming Moral-Political Discourses in Music Education: A Philosophical Investigation

2021 ◽  
pp. 002242942110199
Author(s):  
Lauren Kapalka Richerme
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Educators ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Political Discourses ◽  
Political Beliefs ◽  
Balanced Approach ◽  
Nurturant Parent ◽  
Main Ideas

Given the contemporary polarized political landscape and the elective nature of much music teaching and learning, it is important that music educators understand how they reinforce or undermine stakeholders’ political beliefs. The purpose of this inquiry is to investigate alignment between Lakoff’s moral-political metaphors and Allsup’s main ideas and to consider the value of certain moral-political discourses for music education. I demonstrate that Allsup favors concepts that align with Lakoff’s liberal nurturant-parent metaphor, while his ideas work in tension with the conservative strict-parent metaphor. When conservative moral discourse goes unacknowledged, discussions about what kind of ethics should inform music education get misrecognized as arguments about whether ethical concerns should inform music education. I also examine the potential implications of practices aligning with music educators’ individual moral-political beliefs, a community’s moral-political preferences, or a balanced approach to the two metaphors. Yet, nurturant-parent values and associated practices often remain unarticulated and peripheral in music teacher education. I propose that music educators might name the role that conservative ethics play within the profession, provide increased attention to practices aligning with the nurturant-parent moral-political metaphor, and experiment with discourse and actions not directly invoking either moral-political metaphor.

scholarly journals Race, Ethnicity, and Culturally Relevant Pedagogy

2019 ◽  
pp. 601-623
Author(s):  
Constance L. McKoy
Keyword(s):  
Teacher Education ◽  
Culturally Relevant Pedagogy ◽  
Race And Ethnicity ◽  
Culturally Responsive ◽  
Teaching And Learning ◽  
Culturally Relevant ◽  
Music Teacher ◽  
Responsive Teaching ◽  
Music Teacher Education ◽  
Relevant Pedagogy

This chapter outlines how principles associated with culturally relevant pedagogy may be used in music teacher education to help preservice music teachers better understand how perceptions of race and ethnicity mediate teaching and learning in music. Specific attention is given to race and ethnicity as they relate to (a) facets of cultural identity, (b) the origins of culturally relevant pedagogy in US public education, and (c) the significance of culturally relevant pedagogy in music teacher education. The latter portion of the chapter provides examples of instructional strategies designed to develop a disposition toward culturally responsive teaching among preservice music educators. The chapter concludes with a discussion of the challenges that must be considered when viewing music teacher education through a cultural lens.

Change in Music Teacher Education

2019 ◽  
pp. 66-84
Author(s):  
David J. Elliott ◽  
Marissa Silverman
Keyword(s):  
Teacher Education ◽  
Music Education ◽  
Teaching And Learning ◽  
Music Educators ◽  
Music Teacher ◽  
Music Teaching ◽  
Music Teacher Education ◽  
Philosophical Perspective ◽  
Pedagogical Content

This chapter offers a philosophical perspective on the central aims and values of music teacher education with a specific focus on the ethical dimensions of music teaching and learning. Drawing on the work of music education scholars, philosophers of mind, and philosophers of education, the chapter builds an argument for the view that music teacher education should be ethically guided and ethically applied in practice. Additionally, it suggests that “pedagogical content” should include dialogical discussions and activities related to the role of ethics in music teacher education because, among many values, the professional work of future music educators involves highly refined ethical sensibilities and opportunities for their own students to learn the nature of and strategies for acting rightly, appropriately, and responsibly in their future circumstances. Indeed, ethically guided music teacher education offers the profession rich opportunities to develop “ethically right” compassion, caring, and generosity toward others.

Technology in PerspectiveWho is in Control?

2017 ◽  
pp. 310-316
Author(s):  
Patricia Gonzales
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Educators ◽  
Learning Technologies ◽  
Music Teacher ◽  
Traditional Teaching ◽  
Music Teacher Education ◽  
Innovative Teaching ◽  
Use Of Technology ◽  
Teaching Learning

It is commonly known that the assimilation and use of technology that is vertically mandated, without a critical consideration of final users, presents various risks such as an inadequate and unreflective use of technology. For instance, new technological tools tend to be used only to facilitate aspects of traditional teaching practices, without changing previous pedagogical paradigms. One of the main causes is that many teachers have not acquired the expertise to take full advantage of innovative teaching/learning technologies. For adequate music education provision, music educators must respond distinctively and effectively by considering the sociocultural and educational context. This chapter argues that music teacher education and professional initiatives must be focused on empowering music teachers to critically decide the degree of technological assimilation and distinction in order to meet the standards of quality education.

Conducting

2019 ◽  
pp. 464-481
Author(s):  
Jessica Nápoles ◽  
Jared R. Rawlings
Keyword(s):  
Preservice Teachers ◽  
Nonverbal Communication ◽  
Ad Hoc ◽  
Music Teachers ◽  
Music Educators ◽  
Music Teacher ◽  
Teacher Education Programs ◽  
Music Teacher Education ◽  
Conducting Pedagogy ◽  
Communication Modes

This chapter provides a thorough review of the literature related to conducting, including its role in the broader language of nonverbal communication, the relationship between the gesture and sound, comparisons between verbal and nonverbal communication modes, and tools for assessing conducting in preservice music teacher education programs. Following the literature review, there are practical considerations for a research-based approach to conducting pedagogy. Elements for consideration include knowledge and skills for conducting (as well as a possible sequence for teaching them) and the importance of providing preservice teachers with opportunities for conducting, both in prescribed ways in methods and rehearsal technique courses and through ad hoc opportunities. Finally, a musicianship-based framework for preservice music teachers permeates decisions related to conducting instruction. All excellent music educators must also be excellent musicians.

Intergenerational music teaching and learning among preservice music teachers and senior adult musicians

2021 ◽  
pp. 1321103X2097754
Author(s):  
Samuel Tsugawa
Keyword(s):  
Teacher Education ◽  
Music Education ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Music Teacher ◽  
Music Teaching ◽  
Music Teacher Education ◽  
New Horizons ◽  
Senior Adult ◽  
Senior Adult Musicians

The purpose of this study was to examine the intergenerational interactions between preservice music teachers and senior adult musicians engaged in music teaching and learning in a New Horizons ensemble within one university’s music teacher preparation program. This intrinsic qualitative case study included written reflections and observational data of 16 current undergraduate music education students and verbatim interview transcripts of 5 current and former students serving as teaching assistants who taught and conducted their university’s New Horizons ensemble. Findings distilled from the data included (a) how younger-aged preservice music teachers responded to generational differences while learning how to interact with senior adult musicians, (b) the pedagogical content knowledge (PCK) learned and developed by participants as a result of teaching in a New Horizons ensemble, and (c) the connections made by participants teaching senior adults to their future careers as professional music educators. Future discussion and directions from this study highlight emerging connections of research between adult and community music settings and music teacher education. Implications include (a) how to create best practices so that the missions and objectives of both music teacher education programs and cooperating community adult ensembles support and enhance each other, (b) fostering outcomes that prepare music education majors for experiences in adult music education, and (c) reimagining New Horizons and music teacher education partnerships that result in more national, racial, cultural, and musical diversity and inclusion.

Courses for Secondary Instruments

2019 ◽  
pp. 344-363
Author(s):  
Molly A. Weaver
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Teacher ◽  
Promising Practices ◽  
Education Curriculum ◽  
Music Teacher Education ◽  
Teaching Activities ◽  
School Based ◽  
Secondary Instrument ◽  
Institutional Model

The main purpose of this chapter is to synthesize the literature regarding courses for secondary instruments in the interest of making recommendations for promising practices. The chapter also is intended to “push boundaries from within the system” of music teacher education. That is, it is intended to be a resource for those who prepare preservice music teachers (PMTs) for the realities of P-12 school-based music education and who aspire to instill in these new colleagues a disposition toward change. The chapter is divided into six sections: importance of secondary instrument courses, characteristics and configurations of secondary instrument courses, focus and content of secondary instrument courses, peer teaching activities and field experiences within secondary instrument courses, recommendations for promising practices (including professional development beyond the preservice music education curriculum and an institutional model for secondary instrument courses), and future considerations.

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