Beliefs of Applied Studio Faculty on Desirable Traits of Prospective Music Education Majors

2017 ◽  
Vol 65 (2) ◽  
pp. 219-236 ◽  
Author(s):  
Natalie Steele Royston ◽  
D. Gregory Springer
Keyword(s):  
Music Education ◽  
Selection Criteria ◽  
The United States ◽  
Future Research ◽  
Education Majors ◽  
Applied Music ◽  
Professional Dispositions ◽  
Music Faculty ◽  
Music Education Majors ◽  
Admissions Process

The purpose of this study was to examine the beliefs of applied music faculty on desirable traits of prospective music education majors. Respondents ( N = 326), who were sampled from 73 National Association of Schools of Music–accredited institutions in the United States, completed a survey instrument developed to determine the characteristics of the admissions process at their institutions, their perceptions of various professional dispositions for entering music education majors, and their perceptions of various selection criteria for entering music education majors. Results indicated that music education faculty hold little or no responsibility for admissions decisions and that admissions decisions are primarily made by applied music faculty at many institutions. They also reported that “demonstrates a passion for music” and “is responsible and dependable” are the most desirable professional dispositions for entering freshmen music education majors and that “desire to be a music educator” and “teachability” are the most important selection criteria used when admitting freshmen music education majors. Free-response data suggest that applied faculty members consider various facets during the admissions process, including a prospective music education major’s personal characteristics, musical characteristics, academic characteristics, and prior teaching/leadership experience. Implications for music educators are discussed, and suggestions for future research are proposed.

Looking Within: An Investigation of Music Education Majors and Mental Health

2020 ◽  
Vol 29 (3) ◽  
pp. 50-61
Author(s):  
Phillip D. Payne ◽  
Wesley Lewis ◽  
Frank McCaskill
Keyword(s):  
Mental Health ◽  
Music Education ◽  
Severe Depression ◽  
The United States ◽  
Music Teacher ◽  
Future Research ◽  
Education Majors ◽  
Credit Hours ◽  
Current State ◽  
Music Education Majors

The primary purpose of this article was to establish the current state of mental health among music education majors. Music education majors across the United States ( N = 1137) self-reported indicators of depression, anxiety, and stress. According to the results, music education majors are highly busy, enrolling in an average of 16.5 credit hours (not including zero-credit courses) and rehearsing 9.75 hours a week; a majority of them also work for an average of 13 to 15 hours a week. Participants reported elevated levels of stress, with 57% exhibiting moderate to severe depression and over 70% exhibiting moderate to severe anxiety. We discuss the findings, provide implications for music teacher education, and share suggestions for future research.

The Status of Undergraduate String Teacher Education in American Colleges and Universities

1995 ◽  
Vol 43 (2) ◽  
pp. 139-155 ◽  
Author(s):  
Camille M. Smith
Keyword(s):  
Teacher Education ◽  
Music Education ◽  
Undergraduate Students ◽  
The United States ◽  
Colleges And Universities ◽  
Education Majors ◽  
String Education ◽  
The North ◽  
Music Education Majors ◽  
String Teacher

This study is an examination of undergraduate string teacher education in American colleges and universities. A random sample of 180 NASM-accredited teacher training institutions was selected from the six MENC divisions, each of which represents a large geographical region of the United States. Specific research questions posed were (a) What types of string education courses are required for undergraduate music education majors? (b) What content is included in these courses? (c) How does string teacher education vary in different regions of the country? and (d) How well are undergraduate students being prepared to function as future public school string teachers? Statistically significant findings were obtained for the different regions of the country, with institutions in the North Central Division requiring the greatest number of separate string techniques and string methods courses for all music education majors. Institutions in this region also require the most contact hours per week per course, have the largest number of string education specialists teaching the courses, and taken as a group, do a significantly better job of preparing students to meet specific string teacher competencies than do institutions in other regions of the country.

Music Therapy Knowledge and Interest: A Survey of Music Education Majors

2020 ◽  
Vol 57 (4) ◽  
pp. 455-474
Author(s):  
Lori F Gooding ◽  
D Gregory Springer
Keyword(s):  
Music Education ◽  
Music Therapy ◽  
Music Teachers ◽  
Degree Programs ◽  
Education Majors ◽  
Education Students ◽  
Career Option ◽  
Key Factor ◽  
Career Options ◽  
Music Education Majors

Abstract Music teachers play an important role in exposing students to career options in the field of music. As a result, there is a need to explore music education students’ interest in and knowledge of music therapy. The purpose of this study was to investigate music education students’ exposure to, knowledge of, and willingness to promote music therapy as a career option for prospective collegiate students. A survey was given to 254 music education majors from four research institutions, two with and two without music therapy degree programs. Participants answered demographic, yes/no, Likert-type scale, and open-ended questions about their exposure to, knowledge of, and willingness to promote careers in music therapy. Results indicate that exposure to music therapy occurred in both pre-collegiate and college settings, and that music teachers appear to be influential in exposing students to music therapy. Students often sought out information on music therapy independently, which played an important role in how individuals learned about music therapy, though it has the potential of providing misinformation. Significant differences were found in participants’ knowledge and willingness to promote music therapy as a career option based on the presence of music therapy degree programs. Exposure seemed to be a key factor in music therapy knowledge and promotion; thus, music therapists need to ensure accurate dissemination of music therapy-related information in both pre-collegiate and college settings. Increasing the visibility of the field has the potential to expand interest and potentially attract young musicians well suited for a career in music therapy.

An Observational Study of Score Study Practices Among Undergraduate Instrumental Music Education Majors

2017 ◽  
Vol 65 (1) ◽  
pp. 52-71 ◽  
Author(s):  
Brian A. Silvey ◽  
Mark Montemayor ◽  
Christopher M. Baumgartner
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Education Majors ◽  
Preparation Programs ◽  
Score Study ◽  
Instrumental Music Education ◽  
Study Session ◽  
Significant Difference ◽  
Model Condition ◽  
Music Education Majors

The purpose of this study was to investigate undergraduate instrumental music education majors’ score study practices as they related to the effectiveness of their simulated conducting. Participants ( N = 30) were video recorded in two sessions in which they completed a 20-min score study session and a simulated conducting performance. In the first score study session, all 30 conductors studied Mini-Suite for Band, Movement 1. In Session 2, participants studied Portrait of a Clown but this time either with a model recording ( n = 15) or without one ( n = 15). We computed the overall duration of participants’ score study behaviors for both pieces. Additional data included graduate students’ evaluations of participants’ post–score study conducting performances and an inventory of participants’ score study markings. We found a significant difference in the proportion of time spent in score studying activities between the model and no-model condition conductors, with more time spent in gesturing when studying along with a model. Evaluations of participants’ conducting revealed no differences between those conductors who used a model and those who did not while studying Portrait of a Clown. Our analysis of conductors’ score markings revealed a small number of notable differences between stronger/weaker conductors and between model/no-model conditions. Implications for undergraduate conductor preparation programs are discussed.

Emotional Competence Within the Stress Coping Strategies of Music Education Students

2021 ◽  
pp. 002242942110614
Author(s):  
Michelle S. McConkey ◽  
Christa R. Kuebel
Keyword(s):  
Music Education ◽  
Coping Strategies ◽  
Life Stress ◽  
Emotional Competence ◽  
Stress Coping ◽  
Education Majors ◽  
Education Students ◽  
Emotional Competency ◽  
Stress Coping Strategies ◽  
Music Education Majors

Researchers have identified high levels of stress among music education students, but we know very little about how students manage this stress and how emotional competence skills might be utilized within stress coping mechanisms for this population. Through this qualitative study, we sought to understand the stress coping strategies of eight music education majors through the lens of emotional competence as outlined by Saarni. We identified several sources of participants’ stress: general life stress, schedule, performance expectations, and coursework. Student coping strategies included awareness of stress, an attitude of pushing through, self-care, and seeking support. Through coding and utilization of the theoretical framework, we concluded that all eight of Saarni’s emotional competence skills were evident in the data as a whole, but not for each individual participant. Minimal evidence was found for half of the skills and for some students they were nonexistent, thus indicating a need for growth in emotional competency. Gaining an understanding of how music education majors cope with their stress could be a key step toward understanding how to better support students throughout their degree programs and as they transition into the field of music education.

Rethinking the Engagement of Ethnomusicologists with Performance and Applied Music Curricula

2021 ◽  
pp. 219-237
Author(s):  
Robin Moore
Keyword(s):  
Community Outreach ◽  
The United States ◽  
World Music ◽  
First Century ◽  
Ear Training ◽  
Applied Music ◽  
Music Schools ◽  
Financial Exploitation ◽  
Approach To Teaching ◽  
Music Faculty

Music schools and conservatories in the United States and abroad focus primarily on training performers; one of the reasons ethnomusicologists have had such difficulty expanding their employment opportunities in such institutions is because they have not given enough thought to how they can productively contribute to performance curricula. The field of ethnomusicology has engaged creatively with many subdisciplines in the humanities and social sciences, of course. But while this focus has resulted in insightful publications, it has typically held little immediate relevance for performers. A surprising number of ethnomusicology programs do not encourage applied music-making of any sort as a required part of training in the discipline. In general, ethnomusicology does not dialogue sufficiently with applied music faculty or students. This chapter begins with reflection on what aspiring performers of the twenty-first century need to know in order to be professionally successful and continues with a consideration of how coursework offerings by ethnomusicologists can be retooled so as to contribute directly to the requirements of students in BM programs: to ear training, music theory, orchestration, junior and senior recitals, and so on. Lastly, the chapter covers an approach to teaching world music courses that focuses both on applied performance and on pressing contemporary issues (community outreach, social justice, financial exploitation, etc.) that link world traditions to other repertoires and make their relevance immediately apparent.

Relationships Among Instructor, Peer, and Self-Evaluations of Undergraduate Music Education Majors' Micro-Teaching Experiences

2008 ◽  
Vol 56 (1) ◽  
pp. 82-91 ◽  
Author(s):  
Jessica Napoles
Keyword(s):  
Music Education ◽  
Education Majors ◽  
Education Students ◽  
Teaching Experiences ◽  
Peer Ratings ◽  
Music Education Majors

The author investigates relationships between instructor, peer, and self-evaluations. Undergraduate music education students each taught three micro-teaching segments. Immediately after teaching, they filled out an evaluation for themselves indicating four things they did well, one suggestion for improvement, and an effectiveness score from 1 to 10. All students in the class also completed this task, as did the instructor. Ratings were compared and correlated, and comments were analyzed to determine whether self-comments were the same as peer comments, instructor comments, both, or none. One week after the fact, students were asked to recall every comment that had been made after their teaching. Results indicate that (a) peer ratings were consistently the lowest, (b) self-comments made immediately after teaching were most similar to peer comments or comments made by neither instructor nor peers, and (c) most comments recalled 1 week later were those made by peers or by both instructor and peers.

Sign in / Sign up

Export Citation Format

Share Document