scholarly journals Shaping Policy in Music Education: Music Teachers as Collaborative Change Agents

2020 ◽  
Vol 107 (1) ◽  
pp. 43-48
Author(s):  
Carlos R. Abril ◽  
Brent M. Gault
Keyword(s):  
Teacher Evaluation ◽  
Music Education ◽  
Student Learning ◽  
Music Teachers ◽  
Change Agents ◽  
Music Educators ◽  
Music Programs ◽  
Learning Standards

Music educators have experience working in education environments governed by shifting policies and mandates. How can music educators become agents empowered to shape, interpret, and design mechanisms for putting policy into practice? This article describes ways to understand policy and options for responding and contributing to its development and implementation. We examine how music educators have responded to two policy areas that have had a significant impact on music programs and teachers in recent years: (1) learning standards and (2) evaluation of student learning as a component of teacher evaluation. Examples in this article are meant to serve as a case in point for how music educators can become more responsive and actively engaged in policy matters.

scholarly journals A pile of drums: Putting theory into practice in culturally diverse music education

2019 ◽  
Vol 38 (1) ◽  
pp. 79-92
Author(s):  
Jennifer Walden
Keyword(s):  
Music Education ◽  
Culturally Diverse ◽  
Music Teachers ◽  
Music Educators ◽  
Concert Band ◽  
Music Programs ◽  
Global Awareness ◽  
Global Perspectives ◽  
Experience Teaching ◽  
Challenging Situation

This article provides music educators with practical ways to (a) build school community through culturally diverse music and informal performances and (b) inculcate global perspectives into music programs (including concert band and choir) through culturally diverse music. In an autoethnographic style, the article tells a story that spans 2 years in a challenging situation: an international school in a country wrought with political and economic instability. It examines community building and inculcating global awareness from four perspectives. The first perspective reviews engagement in cultural diversity in music education through the lens of recently completed PhD research. It looks what scholars are writing about culturally diverse music education and how these ideas subsequently look in practice. Second, 30 years of personal experience teaching culturally diverse music are tied in, including ideas for student engagement in music classes. The third perspective includes practical ideas: how culturally diverse music can be integrated to broaden a program and rejuvenate interest in music. Finally, the fourth reveals responses from students experiencing learning through culturally diverse music. Examples, transcriptions, and recommended resources are included, leaving music teachers with useful, sustainable approaches for culturally diverse inclusivity.

Peer Mentoring and Peer Tutoring Among K–12 Students: A Literature Review

2017 ◽  
Vol 36 (2) ◽  
pp. 13-21 ◽  
Author(s):  
Andrew Goodrich
Keyword(s):  
Literature Review ◽  
Music Education ◽  
Peer Mentoring ◽  
Music Teachers ◽  
Music Educators ◽  
Music Programs ◽  
Future Studies ◽  
Education Literature ◽  
K 12

The purpose of this literature review is to examine research on peer mentoring among K–12 students to assist practitioners with how to incorporate these instructional techniques into their own music programs. Primary themes across the music education literature of peer mentoring include the role of music teachers, the role of students as they learn from each other, and the role of socialization. This article concludes with implications for music educators and recommendations for future studies to inform practice and to guide further research into peer mentoring among K–12 students.

scholarly journals The well-being of music educators during the pandemic Spring of 2020

2021 ◽  
pp. 030573562110420
Author(s):  
Peter Miksza ◽  
Kelly Parkes ◽  
Joshua A Russell ◽  
William Bauer
Keyword(s):  
Music Education ◽  
Student Learning ◽  
Music Teachers ◽  
Teaching Efficacy ◽  
Well Being ◽  
Music Educators ◽  
Teachers Perceptions ◽  
Teaching Context ◽  
The Status ◽  
The Impact

The COVID-19 pandemic disrupted many aspects of life, including the instructional practices of music educators. The purpose of this study was to examine music teachers’ well-being following the disruptions in schooling that resulted from the pandemic in the Spring of 2020. We also investigated how disruptions may have affected music teachers’ perceptions of their efficacy and the status of the profession. A questionnaire was completed by 2,023 music teachers who were members of the National Association for Music Education. We collected data related to (a) demographic and institutional information, (b) well-being, (c) teaching efficacy, (d) the impact of the pandemic upon the profession, and (e) the impact of the pandemic upon student learning. The questionnaire included the PERMA Profiler, a measure of well-being, and a portion of the Depression, Anxiety, and Stress Scale (DASS-21). Both PK–12 and collegiate teachers reported significantly lower levels of overall well-being and significantly higher levels of depression than published norms. Additional analyses examined the relationship of individual difference and teaching context variables to the well-being measures, perceptions of teaching efficacy, and perceptions of the pandemic’s impact on student learning.

Creating Virtual Ensembles: Common Approaches from Research and Practice

2021 ◽  
Vol 107 (3) ◽  
pp. 38-46
Author(s):  
Christopher Cayari
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Educators ◽  
The Internet ◽  
Research And Practice ◽  
Music Production ◽  
Music Making ◽  
Teachers And Students ◽  
Online Music ◽  
Education Courses

A virtual ensemble is a digital musical product that uses multiple recordings edited together to form a musical ensemble. Creating virtual ensembles can be a way for music educators to engage students through online music-making. This article presents eight steps for creating virtual ensembles in music education courses and classrooms. The steps are (1) identifying objectives and desired outcomes, (2) selecting repertoire, (3) developing learning resources, (4) creating an anchor for synchronizing, (5) choosing a recording method, (6) setting up a collection platform, (7) editing in postproduction, and (8) distributing the product. As online music production becomes more prevalent, projects like virtual ensembles can provide creative and exciting experiences for music teachers and students, whether produced in the classroom or through remote means on the Internet.

American Gamelan and the Ethnomusicological Imagination

2020 ◽  
Author(s):  
Elizabeth A Clendinning
Keyword(s):  
North America ◽  
Music Education ◽  
Performing Arts ◽  
Music Teachers ◽  
American Music ◽  
World Music ◽  
Music Programs ◽  
Music Ensembles ◽  
College Music

The book seeks to answer these questions: Why are there more than 150 gamelans (Indonesian percussion ensembles) in North America, and why are more than half of them associated with American colleges and universities? How and why did gamelan ensembles spark the ethnomusicological imagination? What impact have these ensembles had on college music programs, their local communities, and transnational Indonesian performing arts scenes? How does a lifetime of teaching foreign college students shape the lives of non-American music teachers? First providing an overview of gamelan and its incorporation in education in North America, this book uses the story of the career and community of one performer-teacher, I Made Lasmawan of Bali and Colorado, as a case study to examine the formation and sustenance academic world music ensembles. It examines the way students develop musical and cultural competence by learning gamelan in traditional ethnomusicology ensemble courses and analyzes the merits of including gamelan ensembles in studies in percussion, composition, and music education. More broadly, the book argues that beyond the classroom, the presence of these ensembles shapes transnational arts education and touristic performing arts scenes in Bali. Finally, it advocates for world music ensemble courses as a powerful means for teaching musical and cultural diversity and sparking transnational exchanges, both in and outside the classroom.

Professional Development for the Experienced Music Educator: A Review of Recent Literature

2018 ◽  
Vol 37 (3) ◽  
pp. 12-19
Author(s):  
Karen Koner ◽  
John Eros
Keyword(s):  
Professional Development ◽  
Music Education ◽  
Music Teachers ◽  
Recent Literature ◽  
Music Educators ◽  
Initial Examination ◽  
Professional Development Needs ◽  
Emerging Themes ◽  
Teachers Professional Development ◽  
K 12

There is a rich body of literature on professional development in music education, including research that has examined the professional development needs of experienced music teachers specifically. In fact, music teachers’ professional development needs may be affected by their degree of experience in the profession. The purpose of this literature review is to examine scholarship during the period 2007 to 2017 about the professional development needs of experienced K–12 music educators. Initial examination of literature in this area shows two emerging themes, including changing needs throughout the career and informal interactions among music educators, being highly effective.

Assessment

2019 ◽  
pp. 143-174
Author(s):  
Cara Faith Bernard ◽  
Joseph Michael Abramo
Keyword(s):  
Teacher Evaluation ◽  
Music Education ◽  
Music Teachers ◽  
Assessment Practices ◽  
Summative Assessments ◽  
Evaluation Measurement ◽  
Measurement Validity

This chapter explores how music teachers may assess students in ways unique to music education while remaining open to using the components of teacher evaluation to improve their assessment practices. First, the chapter reviews how assessment is commonly part of teacher evaluation. Second, it briefly covers some critiques of the assessment aspects of teacher evaluation. Third, the chapter defines some common vocabulary and tenets used in assessment. These include assessment, evaluation, measurement, validity, triangulation, data, and formative and summative assessments. This vocabulary may help music teachers work through these critiques of assessment. Finally, the chapter provides specific ways music teachers might apply assessment vocabulary and tenets to the assessment components of teacher evaluation. This includes when teachers are required to create the assessments alone or in a group and when assessments are chosen or mandated by the district or state. Sample assessments are included in the chapter.

Admission and Assessment of Music Degree Candidates

2019 ◽  
Vol 29 (2) ◽  
pp. 10-21
Author(s):  
Phillip Payne ◽  
Jeffrey Ward
Keyword(s):  
Music Education ◽  
Music Educators ◽  
Music Programs ◽  
Survey Study ◽  
Assessment Practices ◽  
Education Programs ◽  
Current State ◽  
Candidate Assessment ◽  
Assessment Measures ◽  
Music Education Programs

The purpose of this survey study was to examine current admissions processes and assessment practices for music programs of National Association of Schools of Music member institutions. Representatives from 95 institutions responded to a researcher-designed questionnaire. Music education programs were perceived as being comparable to performance programs on admissions standards. We describe the current state of candidate assessment practices from matriculation through degree conferral, consider a range of assessment measures including gateway or barrier instruments, and pose critical questions about the use of such assessments to determine whether music education candidates are appropriately qualified to become P–12 music educators.

scholarly journals Reimagining Music Teacher Collaboration: The Culture of Professional Learning Communities as Professional Development Within Schools and Districts

2019 ◽  
Vol 33 (1) ◽  
pp. 15-23
Author(s):  
Sharyn L. Battersby
Keyword(s):  
Professional Development ◽  
Professional Learning Communities ◽  
Learning Communities ◽  
Student Learning ◽  
Professional Learning ◽  
Teacher Collaboration ◽  
Music Teachers ◽  
Music Educators ◽  
Music Teacher ◽  
Collaborative Community

Music educators are continually seeking new ways to better their practice and improve student learning. Professional learning communities are a type of collaborative community that when administered successfully provide a forum for music educators to become active participants in both their own learning and that of their students. While the notion of professional learning communities has been around since the 1990s, they have received renewed attention more recently due to the adaptation and implementation of Danielson’s popular Framework for Teaching, which has been implemented in many school districts across the country. Teachers facing the challenge of reshaping the culture of their music programs and seeing their initiative sustained will devise elements that will become embedded in that (school) culture. Supportive and shared leadership, shared values and vision, and collective learning are just some of the attributes that can contribute to student learning and the professional development of music teachers.

Then and Now

2017 ◽  
pp. 80-86
Author(s):  
David A. Williams
Keyword(s):  
Higher Education ◽  
Music Education ◽  
Music Teachers ◽  
New Music ◽  
Music Programs ◽  
School Music ◽  
Education Profession ◽  
K 12 ◽  
Musical Styles

Fear of change is deeply embedded in the music education profession. It is a fear of the unknown—a fear of losing control over that with which music teachers are comfortable and confident. As a whole the music education profession resists the use of new music technologies. We are a profession that resists change, and this resistance has hurt us. This resistance is fast making us irrelevant in a musical world that is ever changing. Students currently in K–12, as well as in higher education, have grown up with new music technologies and related musical styles that are quite different from what they encounter in schools. The vast majority of these students see no place for themselves in school music programs. We are missing out on exciting opportunities that would be made possible by embracing new music technologies, especially when used in conjunction with corresponding pedagogies.

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