The Relationships Among Interval Identification, Pitch Error Detection, and Stimulus Timbre by Preservice Teachers

2019 ◽  
Vol 67 (4) ◽  
pp. 465-480
Author(s):  
Laura A. Stambaugh ◽  
Bryan E. Nichols
Keyword(s):  
Preservice Teachers ◽  
Music Education ◽  
Error Detection ◽  
Response Times ◽  
Pitch Error ◽  
Study Session ◽  
Identification Score ◽  
Performance Area ◽  
Music Education Majors ◽  
Main Effects

We examined the relationship between interval identification skill and error detection skill in preservice teachers, accounting for timbral differences by including piano and vocal stimuli. The interval identification test was comprised of 33 items spanning from C2 to B5. Fifteen error detection items were monophonic melodies, two measures long, in 4/4 meter, and included one pitch error. Music education majors ( N = 50) completed both tests in vocal and piano timbres during one individual study session. Interval identification performance was significantly correlated with error detection performance, r = .75. Additionally, interval identification score was a significant predictor for error detection when also accounting for variance from numbers of semesters of enrollment and theory/aural skills courses. Response times for correct responses of interval identification were faster than for incorrect responses. We found no main effects or interactions between primary performance area and timbre of test item. The results suggest interval identification skill generally can be used to predict error detection, reinforcing the importance of developing interval identification as a basic musical skill.

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.

The Role of Accompaniment Quality in the Evaluation of Solo Instrumental Performance

2018 ◽  
Vol 66 (1) ◽  
pp. 92-110 ◽  
Author(s):  
D. Gregory Springer ◽  
Brian A. Silvey
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Education Majors ◽  
Instrumental Performance ◽  
Solo Performance ◽  
Instrumental Music Education ◽  
Performance Quality ◽  
Music Education Majors ◽  
Main Effects

The purpose of this study was to examine the effect of accompaniment quality on the evaluation of solo instrumental performance. Undergraduate instrumental music education majors ( N = 71) listened to and evaluated the accuracy and expressivity of six excerpts of Haydn’s Concerto for Trumpet in E-Flat Major, which we created by synchronizing recordings of good and bad performances of a trumpet soloist with good and bad performances of a piano accompaniment (as well as a no-accompaniment condition). Participants also chose one “best aspect of the performance” and one “aspect needing most improvement” for each excerpt. Significant main effects for accompaniment condition (good, bad, or none) and solo condition (good or bad) were found, in addition to interaction effects. Results of a Solo × Accompaniment interaction signified that participants’ ratings were not independent of accompaniment condition, and this effect was moderated by the performance quality of the trumpet soloist. Additionally, participants noted different “best aspects” and “aspects needing most improvement” based on both solo performance quality and accompaniment condition.

Mentorship and Learning Experiences of Preservice Teachers as Community Children’s Chorus Conductors

2019 ◽  
Vol 29 (2) ◽  
pp. 38-52
Author(s):  
Melissa Baughman
Keyword(s):  
Preservice Teachers ◽  
Service Learning ◽  
Music Education ◽  
Error Detection ◽  
Music Teachers ◽  
Positive Impact ◽  
Learning Experiences ◽  
Semistructured Interview ◽  
Context Learning ◽  
Authentic Context

A service-learning model may be used to provide preservice music teachers with authentic context learning experiences and a range of pedagogical benefits, but research evidence specific to choral music contexts is limited. The purpose of this study was to investigate two preservice music teachers’ experiences as interns with a community children’s chorus. Through an examination of verbal and written reflections, I sought to understand how interns perceived themselves as music teachers, their ability to implement and recall specific instructional strategies, connections they made between teaching young singers in a community choir context and future field work in public school settings, and mentor influence. Study participants were two junior-level music education majors and two children’s chorus conductors. Data collection methods included questionnaires, interns’ weekly video journals, one semistructured interview with each mentor, and one video-stimulated recall interview with each intern. Both interns assisted in teaching a weekly, 60-minute choral rehearsal for 10 consecutive weeks, and attributed their increased confidence as music teachers to this experience. They also discovered their own deficiencies in error detection and choosing teaching methods on the spot. Mentors had a positive impact on the interns’ overall experience. Implications for music education include the need to engage preservice teachers in all types of authentic context learning experiences, and to further explore the mentor’s role in these experiences.

Preservice teachers’ experiences teaching an adult community music ensemble

2018 ◽  
Vol 36 (4) ◽  
pp. 601-615 ◽  
Author(s):  
Melissa Baughman ◽  
Christopher M. Baumgartner
Keyword(s):  
Preservice Teachers ◽  
Adult Learners ◽  
Music Education ◽  
Community Music ◽  
Teachers Perceptions ◽  
Instructional Behaviors ◽  
New Horizons ◽  
Music Program ◽  
The Usa ◽  
Music Education Majors

The purpose of this study was to investigate the experiences of four preservice music teachers as leaders of adult chamber ensembles. Through examination of these teachers’ reflections, we sought to answer the following questions: (a) What impact does leading an adult chamber ensemble have on preservice teachers’ perceptions of their instructional behaviors? (b) Which specific instructional behaviors do preservice teachers focus upon when teaching adult learners? (c) How might preservice teachers project their experience teaching adult learners in a community music program to future experiences teaching in formal school settings? Four undergraduate music education majors at a large Midwestern university school of music in the USA participated in this study. Each participant served as a staff member for the university-sponsored New Horizons Band, teaching a weekly, 30-minute small ensemble rehearsal for eight consecutive weeks. Participant responses were examined four ways: (a) responses to a pre-questionnaire, (b) video diary entries, (c) interview transcript, and (d) responses to a post-questionnaire. Preservice teachers’ credited their experiences leading New Horizons chamber groups for their perceived development and mastery of specific instructional behaviors. Implications for music education include the need to engage preservice teachers’ in authentic teaching experiences, promoting transfer to future instructional settings.

Preservice Music Teachers' Conceptions of Teaching Effectiveness, Microteaching Experiences, and Teaching Performance

2001 ◽  
Vol 49 (3) ◽  
pp. 258-272 ◽  
Author(s):  
Abby Butler
Keyword(s):  
Preservice Teachers ◽  
Music Education ◽  
Concept Maps ◽  
Teaching Effectiveness ◽  
Cognitive Structure ◽  
Sampling Procedure ◽  
Teaching Performance ◽  
Conceptions Of Teaching ◽  
Quantitative Results ◽  
Music Education Majors

Fifteen undergraduate music education majors who were enrolled in an introductory music education course constructed concept maps on the topic of “teacher effectiveness” prior to and following two microteachings. The Survey of Teaching Effectiveness (STE) and a time sampling procedure based on criteria from teacher-intensity (TI) research measured teaching performance. Conceptions of teaching effectiveness were examined from two perspectives: cognitive structure, measured by map scores, and conceptual understanding, based on qualitative data from maps, self-evaluations, and interviews. Quantitative results indicate that participants' cognitive structure did not change, nor did it correlate with their teaching performance. Qualitative results provide insight into how preservice teachers acquire conceptions of teaching effectiveness and suggest that microteachings in conjunction with concept mapping may help shape preservice music education teachers' understanding of what it means to teach.

The Effect of Piano Playing on Preservice Teachers’ Ability to Detect Errors in a Choral Score

2016 ◽  
Vol 26 (2) ◽  
pp. 39-49 ◽  
Author(s):  
Jessica Napoles ◽  
Sandra L. Babb ◽  
Judy Bowers ◽  
Steven Hankle ◽  
Adam Zrust
Keyword(s):  
Preservice Teachers ◽  
Error Detection ◽  
Analysis Of Covariance ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Detection Ability ◽  
Piano Study ◽  
Within Subjects ◽  
Main Effects ◽  
Single Part

The purpose of this study was to examine and empirically test the pedagogical claim that playing the piano while listening to choral singers impedes error detection ability. In a within-subjects design, participants ( N = 55 preservice teachers) either listened to four excerpts of choral hymns or played a single part (soprano/bass) on the piano while listening. They were asked to locate the errors that occurred in these excerpts. Each excerpt contained a pitch and a rhythm error, in the soprano and bass voice parts. Results of an analysis of covariance (with years of piano study as the covariate) indicated significant main effects for condition and voicing. There were more errors detected in the soprano voicing than in the bass voicing, and more errors detected in the listen condition than in the playing condition. Implications for music teacher education are discussed, including adding practice in error detection activities to methods and conducting courses.

Pushing the Boundaries from the Inside

2019 ◽  
pp. 1-22
Author(s):  
Colleen Conway ◽  
Shannan Hibbard
Keyword(s):  
Teacher Education ◽  
Preservice Teachers ◽  
Music Education ◽  
Best Practice ◽  
Teacher Educators ◽  
Music Teacher ◽  
Adaptive Expertise ◽  
Music Teacher Education ◽  
Classroom Relationships ◽  
School Based

This chapter situates the study of music teacher education within the larger body of music education and teacher education research. It problematizes the terms teacher training, teacher education, and best practice and introduces the concept of teaching as an “impossible profession.” Goals of teacher education, including reflective practice and adaptive expertise, are discussed. The chapter outlines the challenges that music teacher educators face as they try to prepare preservice teachers for the realities of P-12 school-based music education while instilling in these new colleagues a disposition toward change. It concludes with narratives that examine teachers’ descriptions of classroom relationships throughout the lens of presence in teaching as a way to remind teacher educators of the importance of their work to push the boundaries of music teacher education in order to serve the profession at large.

scholarly journals “I Do Belong Here”: Identity Perceptions of Postgraduate Music Education Majors

2019 ◽  
Vol 29 (1) ◽  
pp. 56-70
Author(s):  
Crystal Sieger
Keyword(s):  
Identity Development ◽  
Music Education ◽  
Teacher Identity ◽  
Teacher Educators ◽  
Teaching Profession ◽  
Music Teacher ◽  
Music Teacher Identity ◽  
Group Interviews ◽  
Axial Coding ◽  
Music Education Majors

Students choosing to enter the music teaching profession after having already obtained undergraduate degrees in other music fields may experience unique forms of socialization and teacher identity development. Participants were four students enrolled in a 3-year master’s program with a music teacher licensure component. Through individual and focus group interviews, participants shared their perspectives on program experiences, course elements, and interactions with peers and professors as important influences on their developing music teacher identity. I examined the data for emerging patterns and applied open and axial coding to the most prominent responses, resulting in themes centered on participants’ socialization experiences, desire for independence, need for self-justification, and “outsider” status among peers. To combat lack of peer recognition or support, participants developed strong, collaborative relations with each other. Implications for music teacher educators are considered.

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.

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