Developing Self-Efficacy to Improve Music Achievement

2020 ◽  
Vol 107 (2) ◽  
pp. 42-50
Author(s):  
Michael S. Zelenak
Keyword(s):  
Learning Environment ◽  
Music Education ◽  
Self Efficacy ◽  
Positive Relationship ◽  
Music Educators ◽  
Music Achievement ◽  
Self Perception ◽  
Music Learning ◽  
Albert Bandura

Albert Bandura identified self-efficacy as the dominant self-perception shaping action, effort, and achievement. In music education, researchers have identified a positive relationship between self-efficacy and achievement, but how can music educators develop self-efficacy to improve achievement? This article offers a description of self-efficacy and provides practical strategies to promote its development in music education. These strategies can be applied in any music learning environment so that music educators may be more fully prepared to integrate activities that build self-efficacy into their instruction, enabling their students to reach higher levels of achievement.

Advocacy for Students with Autism in Music Education

2020 ◽  
pp. 143-160
Author(s):  
Alice M. Hammel ◽  
Ryan M. Hourigan
Keyword(s):  
Learning Environment ◽  
Music Education ◽  
Special Educators ◽  
Music Educators ◽  
Classroom Teachers ◽  
Special Education Administrators ◽  
Music Learning ◽  
Educational Support ◽  
Students With Autism ◽  
Education Administrators

Music students with autism are frequently placed in music learning environments not conducive to their needs. Music educators must advocate for the most appropriate learning environment for their students. This chapter focuses on establishing relationships with parents, special educators, special education administrators, and classroom teachers to advocate for the most appropriate learning environment. In addition, this chapter focuses on understanding the necessary components of the musical learning environment for students with ASD and reaching out to community organizations for educational support.

Cultivating Meaningful Personal Learning Networks in an Era of Multimodal and Globalized Music Learning and Education

2020 ◽  
pp. 335-356
Author(s):  
Deanna C. C. Peluso
Keyword(s):  
Music Education ◽  
Classroom Practices ◽  
Music Educators ◽  
Learning Networks ◽  
Online Forums ◽  
Music Learning ◽  
Personal Learning Networks ◽  
Personal Learning ◽  
Informal Music Learning ◽  
Musical Knowledge

A continual ebb and flow of technological progressions provide diverse contexts in which music learning, participation, and education can occur. Youth are deeply immersed within a culture of globalized and multimodal knowledge-sharing, through which music learning occurs within formal, nonformal, and informal contexts, both in the physical and online worlds. These interconnected environments provide learners with a diverse collection of tools and resources that enable them to take charge of their own musical learning. Further, they can connect and share with other learners, educators, and experts through their own digitally mediated personal learning networks (PLNs). In these PLNs, extensive repertoires of formal music education combined with informal music learning practices that provide self-directed forums for musical experiences can enable music learners to flourish and adapt to globalized and diverse contexts. Learners cultivate, in their own personally relevant ways, networks of musical knowledge by drawing on the resources and tools available both on- and offline. By examining PLNs supported by multimodal social media resources as well as online forums for sharing and exploring music knowledge, this chapter presents practical examples and applications to inform music educators and classroom practices.

The Oxford Handbook of Social Media and Music Learning

2020 ◽  
Keyword(s):  
Social Media ◽  
New Media ◽  
Music Education ◽  
Network Connectivity ◽  
Music Educators ◽  
International Perspective ◽  
Music Learning ◽  
Rapid Pace ◽  
Media Communications ◽  
Networked Society

The rapid pace of technological change over the last decade, particularly in relation to social media and network connectivity, has deeply affected the ways in which individuals, groups, and institutions interact socially: This includes how music is made, learned, and taught globally in all manner of diverse contexts. The multiple ways in which social media and social networking intersect with the everyday life of the musical learner are at the heart of this book. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a music learner, teacher, producer, consumer, individual, and community member in an age of technologically-mediated relationships that continue to break down the limits of geographical, cultural, political, and economic place. This book is aimed at those who teach and train music educators as well as current and future music educators. Its primary goal is to draw attention to the ways in which social media, musical participation, and musical learning are increasingly entwined by examining questions, issues, concerns, and potentials this raises for formal, informal, and non-formal musical learning and engagement in a networked society. It provides an international perspective on a variety of related issues from scholars who are leaders in the field of music education, new media, communications, and sociology in the emerging field of social media.

The Oxford Handbook of Social Justice in Music Education

2015 ◽  
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Music Educators ◽  
Pedagogical Practices ◽  
Refugee Camps ◽  
Student Agency ◽  
Music Learning ◽  
Cultural Perspectives ◽  
Starting Point ◽  
Comprehensive Survey

This handbook seeks to present a wide-ranging and comprehensive survey of social justice in music education. Contributors from around the world interrogate the complex, multidimensional, and often contested nature of social justice and music education from a variety of philosophical, political, social, and cultural perspectives. Although many chapters take as their starting point an analysis of how dominant political, educational, and musical ideologies serve to construct and sustain inequities and undemocratic practices, authors also identify practices that seek to promote socially just pedagogy and approaches to music education. These range from those taking place in formal and informal music education contexts, including schools and community settings, to music projects undertaken in sites of repression and conflict, such as prisons, refugee camps, and areas of acute social disadvantage or political oppression. In a volume of this scope, there are inevitably many recurring themes. However, common to many of those music education practices that seek to create more democratic and equitable spaces for musical learning is a belief in the centrality of student agency and a commitment to the too-often silenced voice of the learner. To that end, this Handbook challenges music educators to reflect critically on their own beliefs and pedagogical practices so that they may contribute more effectively to the creation and maintenance of music learning environs and programs in which matters of access and equity are continually brought to the fore.

Music Learning Today

2020 ◽  
Author(s):  
William I. Bauer
Keyword(s):  
Music Education ◽  
Music Educators ◽  
Promising Practices ◽  
Learning Context ◽  
Music Learning ◽  
Software Applications ◽  
Use Of Technology ◽  
Digital Pedagogy ◽  
Teaching Learning ◽  
Pedagogical Approaches

Grounded in a research-based, conceptual model called Technological Pedagogical and Content Knowledge (TPACK), the essential premise of Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music is that music educators and their students can benefit through use of technology as a tool to support learning in the three musical processes—creating, performing, and responding to music. Insights on how technology can be used to advantage in both traditional and emerging learning environments are provided, and research-based pedagogical approaches that align technologies with specific curricular outcomes are described. Importantly, the book advocates that the decision on whether or not to utilize technology for learning, and the specific technology that might be best suited for a particular learning context, should begin with a consideration of curricular outcomes (music subject matter). This is in sharp contrast to most other books on music technology that are technocentric, organized around specific software applications and hardware. The book also recognizes that knowing how to effectively use the technological tools to maximize learning (pedagogy) is a crucial aspect of the teaching-learning process. Drawing on the research and promising practices literature in music education and related fields, pedagogical approaches that are aligned with curricular outcomes and specific technologies are suggested. It is not a “how to” book per se, but rather a text informed by the latest research, theories of learning, and documented best practices, with the goal of helping teachers develop the ability to understand the dynamics of effectively using technology for music learning.

The Rhyme and Reason for Nursery Rhymes in the Elementary Music Classroom

2019 ◽  
Vol 33 (2) ◽  
pp. 90-96
Author(s):  
Brittany Nixon May
Keyword(s):  
Learning Environment ◽  
Music Educators ◽  
Learning Opportunities ◽  
Elementary Music ◽  
Social Emotional ◽  
Music Learning ◽  
Interdisciplinary Learning ◽  
Music Classroom ◽  
The World

Many educators have recognized how nursery rhymes can be used in classrooms to nurture the cognitive, physical, social, emotional, and music development of children. In the elementary music classroom, nursery rhymes can be used to foster a playful and engaging music learning environment, and prompt interdisciplinary learning opportunities. The vast repertoire of nursery rhymes from all over the world enables music educators to be conscientious and creative practitioners.

Demystifying World Music Education: From Guiding Principles to Meaningful Practice

2018 ◽  
Vol 32 (2) ◽  
pp. 18-23
Author(s):  
Jennifer M. Mellizo
Keyword(s):  
Music Education ◽  
Music Educators ◽  
World Music ◽  
Theory And Practice ◽  
General Music ◽  
Music Pedagogy ◽  
Music Curriculum ◽  
Music Learning ◽  
Music Educator ◽  
World Music Pedagogy

Over the past several decades, music education scholars have put forth a variety of convincing rationales for world music education. Yet the gap between theory and practice in this area persists. In theoretical ways, practicing music educators acknowledge the value of world music learning experiences, but many remain reluctant to fully embrace and embody this approach in practice. Through this article, one practicing general music educator shares her personal experience of writing, implementing, and subsequently observing another music educator use a new world music curriculum resource, inspired by the music traditions of the Fon people in southern Benin. As our understanding of world music pedagogy continues to evolve, more practicing music educators should share their unique perspectives and experiences. These “snapshots” from the field can help other (perhaps more hesitant) music educators envision what this pedagogical approach might look like in their own classrooms.

The Oxford Handbook of Music Education, Volume 1

2012 ◽  
Keyword(s):  
Music Education ◽  
Later Life ◽  
Music Educators ◽  
Shopping Mall ◽  
Music Learning ◽  
Learning And Teaching ◽  
Making Sense ◽  
Key Issues ◽  
The Many ◽  
Do So

Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education, which comprises of two volumes, offers an overview of the many facets of musical experience, behavior, and development in relation to this diverse variety of contexts. In this first volume, articles discuss a range of key issues and concepts associated with music learning and teaching. The volume then focuses on these processes as they take place during childhood, from infancy through adolescence and primarily in the school-age years. Exploring how children across the globe learn and make music, and the skills and attributes gained when they do so, these articles examine the means through which music educators can best meet young people's musical needs. The second volume of the set brings the exploration beyond the classroom and into later life. Whether they are used individually or in tandem, the two volumes of this text update and redefine the discipline, and show how individuals across the world learn, enjoy, and share the power and uniqueness of music.

Music Education: An Unanswered Question

2012 ◽  
pp. 620-624
Author(s):  
Wilfried Gruhn
Keyword(s):  
Music Education ◽  
Music Educators ◽  
Cultural Consensus ◽  
Unanswered Question ◽  
Music Learning ◽  
Subjective Beliefs ◽  
Educational Culture ◽  
Personal Experiences ◽  
Education Today

Music education today is rife with proposals that appeal in different ways to different people. Finding objective criteria to establish new paradigms and evaluate its efficiency is difficult because music educators often work from personal experiences, subjective beliefs, or traditional ideologies. This article calls for a local and cultural consensus about the essence of the music that is being taught; the steps and stages of music learning which are individually performed; and the final goals and functions within a particular educational culture.

scholarly journals Informal and Participatory Cultures in Music Education

2014 ◽  
Vol 5 ◽  
Author(s):  
Deanna C. C. Peluso
Keyword(s):  
Music Education ◽  
Informal Learning ◽  
Cultural Context ◽  
Contemporary Music ◽  
Music Educators ◽  
Human Condition ◽  
Music Learning ◽  
Self Identity ◽  
Informal Music Learning ◽  
Self Knowledge

Music provides a forum to explore knowledge, creativity, collaboration and expression as a part of the human condition, in which we relate self-identity, self-knowledge and a socio-cultural context for our experiences (Hodges, 2005). Many youth are able to be involved in participatory cultures, where musical learning occurs easily and without formal intervention, through the development of complex technologies that allow interaction and sharing across the world without the limitations of geographical boundaries. Musical activities are a significant part of many young people’s everyday lives, as they are musically encultured from a young age, yet the majority of their musical participation occurs outside of formalized music education (O’Neill, 2005), through informal learning within popular music (Green, 2007). Contemporary music educators are faced with finding ways for youth to strengthen the connections between music education at school and their musical experiences outside the school walls; and I posit that an understanding of participatory and informal music learning practices might help this challenging endeavour.

Sign in / Sign up

Export Citation Format

Share Document