scholarly journals Music Teachers' Usage of the Breathing and Voice Exercises in Song Teaching

2018 ◽  
Vol 6 (9) ◽  
pp. 69
Author(s):  
Gulnihal Gul
Keyword(s):  
Music Education ◽  
Emotional Development ◽  
Sound Production ◽  
Music Teachers ◽  
General Music ◽  
Voice Training ◽  
Mental Functions ◽  
Music Lesson ◽  
Voice Exercises ◽  
The Voice

Singing has a profound effect on the child's mental and emotional development and is directly related to the basic mental functions and physiological development. In this context, it is considered that voice training with the aim of using the voice correctly and effectively is necessary in the general music education and breathing and voice exercises have a particular importance for good and quality sound production in this process.With this idea, in this research, it was aimed to determine the situation of music teachers in Turkey on using breathing and voice exercises while singing in events held in the context of the general music education. According to findings obtained from the research, it has been determined that music teachers' usage of breathing and voice exercises differ according to the institution they are studying, the weekly hours of the music lesson and the inadequacy of the classroom equipment influenced the use of breathing and voice exercises by music teachers in song teaching and teachers felt that they were sufficient enough to accompany themselves to voice exercises.

Music and Social Justice

2021 ◽  
Author(s):  
Cathy Benedict
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Elementary Students ◽  
Music Teachers ◽  
Elementary Music ◽  
Elementary Student ◽  
Teachers And Students ◽  
The Voice ◽  
Elementary Music Education ◽  
The Way

This book challenges and reframes traditional ways of addressing many of the topics we have come to think of as social justice. Offering practical suggestions for helping both teachers and students think philosophically (and thus critically) about the world around them, each chapter engages with important themes through music making and learning as it presents scenarios, examples of dialogue with students, unit ideas, and lesson plans geared toward elementary students (ages 6–14). Taken-for-granted subjects often considered sacrosanct or beyond the understanding of elementary students, such as friendship, racism, poverty, religion, and class, are addressed and interrogated in a way that honors the voice and critical thinking of the elementary student. Suggestions are given that help both teachers and students to pause, reflect, and redirect dialogue with questions that uncover bias, misinformation, and misunderstandings that too often stand in the way of coming to know and embracing difference. Guiding questions, which anchor many curricular mandates, are used throughout in order to scaffold critical and reflective thinking beginning in the earliest grades of elementary music education. Where does social justice reside? Whose voice is being heard, and whose is being silenced? How do we come to think of and construct poverty? How is it that musics become used the way they are used? What happens to songs initially intended for socially driven purposes when their significance is undermined? These questions and more are explored, encouraging music teachers to embrace a path toward socially just engagements at the elementary level.

On Becoming Musical

2017 ◽  
pp. 322-328
Author(s):  
Gena Greher
Keyword(s):  
Music Education ◽  
Special Needs ◽  
Music Teachers ◽  
Music Technology ◽  
Music Teacher ◽  
General Music ◽  
Education Students ◽  
Music Participation ◽  
Music Class ◽  
Context Specific

This chapter examines the role of both high- and low-tech solutions, when using music technology as a form of reflective practice in working with special needs populations. Music teachers often are given little coursework in working with at-risk and special needs students. It is little wonder that music teacher attitudes are often negative regarding the inclusion of these students in music activities, whether it’s in a general music class or ensembles. Rather than marginalizing these students, music technology can be adapted to allow even the most severely impacted student a means to music participation in school settings. Providing music education students with context-specific field experiences working with a variety of special needs populations can help students realize the musical potential of all students.

It’s All about the Voice . . . for Wind Instrumentalists, Too!

2018 ◽  
Vol 105 (2) ◽  
pp. 36-42
Author(s):  
Valerie L. Trollinger ◽  
Robert T. Sataloff
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Laryngopharyngeal Reflux ◽  
Music Educators ◽  
Voice Pedagogy ◽  
Wind Instrumentalists ◽  
Wind Instrument ◽  
New Research ◽  
Singing Ability ◽  
The Voice

While many music teachers are familiar with strategies to prevent damage due to vocal abuse or misuse, they are generally not acquainted with other vocal problems that can affect their own or their students’ singing ability. Such damage can also occur when playing a wind instrument. While vocal abuse and misuse are commonly understood in music education, problems (in children and adults) associated with laryngopharyngeal reflux (LPR), continuing unresolved issues in child voice pedagogy, and issues concerning protecting the larynx in young wind instrumentalists are not as well known to music educators. This article presents some new research of importance to music educators.

Novice and Experienced Elementary General Music Teachers’ Classroom Management Self-Efficacy

2020 ◽  
pp. 105708372098046
Author(s):  
Jennifer L. Potter
Keyword(s):  
Music Education ◽  
Classroom Management ◽  
Self Efficacy ◽  
Music Teachers ◽  
Management Strategies ◽  
School Setting ◽  
Teaching Experience ◽  
General Music ◽  
Survey Participant ◽  
Elementary General Music

The purpose of this study was to investigate elementary general music teachers’ classroom management self-efficacy. Targeted participants were novice and experienced elementary general music teachers teaching in urban, suburban, and rural/small town settings who received a survey disseminated through the National Association for Music Education. Survey participant data were analyzed using analysis of variance and analytic induction. Teaching experience had a significant effect on classroom management efficacy, while school setting did not. Themes that emerged from the analysis of responses to open-ended questions included adapting and implementing classroom management strategies, consistency, parental involvement, students’ home environments, and teacher expectations. Implications are also presented that relate to general music teachers’ self-efficacy.

Country Music Education for Diverse and Inclusive Music Classrooms

2020 ◽  
Vol 107 (2) ◽  
pp. 28-34
Author(s):  
Vincent C. Bates ◽  
Jason B. Gossett ◽  
Travis Stimeling
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Teachers ◽  
American Art ◽  
Country Music ◽  
American Music ◽  
General Music ◽  
Art Form ◽  
Musical Practices ◽  
Music Classrooms

Despite its rich heritage and enduring popularity, country music has historically been marginalized in American music education, usually in favor of more “high-brow” musical practices. This article explores potential explanations for this imbalance within the context of a general overview of cultural and social considerations and implications related to this important American art form. Finally, we outline practical steps that music teachers can take toward more inclusive and diverse approaches to music teaching and learning to include country music critically and as appropriate to meet students’ needs and interests. These steps include applications within current approaches to band, orchestra, choir, general music, songwriting, and guitar.

scholarly journals Improvisation i musikundervisningen: Tre lärares didaktiska förhållningssätt

2020 ◽  
Vol 1 (1) ◽  
pp. 81-102
Author(s):  
Christina Larsson ◽  
Eva Georgii-Hemming
Keyword(s):  
Music Education ◽  
Thematic Analysis ◽  
Music Teachers ◽  
General Music ◽  
School Year ◽  
Pedagogical Choices ◽  
Process Oriented ◽  
Educational Orientations ◽  
Swedish School ◽  
Pedagogical Approaches

This article draws on interviews with three music teachers. It is part of a larger study that explores improvisation in general music education in the Swedish school year 4. The article focuses teachers’ pedagogical approaches to improvisation and how this effect the teaching. This study reveals that music teachers incorporate improvisation in their teaching. They do, however, lack a professional language in order to reflect on content, methods, aim and purpose of improvisation in education. Through thematic analysis, we demonstrate that pedagogical points of departure and attitudes are implicitly present in the teachers’ practices and have implications for their educational orientation. Three diverse but overlapping educational orientations are discerned: a process-oriented, a subject-oriented and a Bildung-oriented. The educational orientations are reflected in these teachers’ approaches to improvisation and are related to pedagogical choices of activities, how activities are conducted and to what aim.

Elementary General Music Teachers’ Preparation in Classroom Management

2021 ◽  
pp. 105708372110621
Author(s):  
Jennifer Potter Gee
Keyword(s):  
Music Education ◽  
Classroom Management ◽  
Teacher Educators ◽  
Music Teachers ◽  
Music Teacher ◽  
Teacher Education Programs ◽  
General Music ◽  
Course Content ◽  
Elementary General Music ◽  
Management Preparation

The purpose of this study was to examine elementary general music teachers’ classroom management preparation within music teacher education programs. Participants ( N = 341) were active elementary general music teachers as identified by the National Association for Music Education (NAfME). Descriptive data included frequencies, percentages, and cross-tabulations. The most frequently reported sources of classroom management preparation were mentoring from a licensed teacher and supervised fieldwork, while creating classroom rules and expectations and teaching procedures were the most frequent examples of within-course content. Participants were most satisfied with their preparation received through licensed teacher mentoring and supervised fieldwork. Implications for music teacher educators are presented.

Alternative Assessment for Music Students with Significant Disabilities

2019 ◽  
pp. 224-241
Author(s):  
Donald DeVito ◽  
Megan M. Sheridan ◽  
Jian-Jun Chen-Edmund ◽  
David Edmund ◽  
Steven Bingham
Keyword(s):  
Public School ◽  
Music Education ◽  
Students With Disabilities ◽  
Student Performance ◽  
Alternative Assessment ◽  
Performance Outcomes ◽  
General Music ◽  
Significant Disabilities ◽  
School Music ◽  
K 12

How is it possible to move beyond assessment for the purposes of evaluating teacher proficiency and student performance outcomes and instead to consider assessment for understanding student musical experiences and preferences for the purpose of promoting lifelong musical engagement? This chapter includes and examines three distinct music education approaches that have been taken at the K–12 Sidney Lanier Center School for students with varying exceptionalities in Gainesville, Florida. Megan Sheridan illustrates inclusion and assessment using the Kodály approach. David Edmund and Jian-Jun Chen-Edmund examine creative lessons developed for exceptional learners in a general music setting. Steven Bingham and Donald DeVito illustrate adaptive jazz inclusion and performance for public school and university students with disabilities. This collaborative development in qualitative music assessment has taken place through (1) developing methods of communicating recognition of student engagement and affective responses during inclusive engagement in public school music education settings, specifically in Kodaly-based music instruction, K–12 general music classes, and secondary jazz ensembles; (2) using students’ interest and engagement as a means of curriculum development and assessment in inclusive public school music settings; and (3) building collaborative relationships with parents and the community for post-school lifelong music learning.

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