A New Definition of Music Literacy: What, Why, and How?

2021 ◽  
Vol 107 (3) ◽  
pp. 15-21
Author(s):  
Paul Broomhead
Keyword(s):  
Music Education ◽  
Literacy Instruction ◽  
Music Teachers ◽  
Instructional Planning ◽  
Music Literacy ◽  
Definition Of

The purpose of this article is to articulate clear definitions of music literacy and text, explain what impact they may have on music education generally, and describe their application to day-to-day teaching. The broadened definitions are intended to unite music professionals’ understanding of music literacy and help them more clearly approach music literacy instruction while simultaneously fulfilling curricular expectations of administrators and other stakeholders. Specific benefits of the new definitions include (1) aiding conversations between music teachers and literacy administrators, (2) providing clarity in the examination of broad issues and general approaches in music education, and (3) enhancing clarity and effectiveness in day-to-day instructional planning and delivery.

A music literacy-based rationale for popular music ensembles and experiences in music education

2020 ◽  
Vol 38 (3) ◽  
pp. 470-491
Author(s):  
Brittany Nixon May ◽  
Paul Broomhead ◽  
Samuel Tsugawa
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Literacy Development ◽  
Music Educators ◽  
Music Literacy ◽  
Music Ensembles ◽  
Definition Of

The purpose of this article is to utilize new conceptions of music literacy to support and encourage popular music experiences in music education. A new definition of music literacy is presented and authentic popular music resources that function as (newly defined) texts to develop music literacy are identified and discussed. Finally, considerations will be given for music educators on how to select and utilize popular music texts to engage students in meaningful music interactions that promote music literacy development.

scholarly journals Music Teachers’ and Administrators’ Perspectives on Entrepreneurship in Norwegian Higher Music Education: An Exploratory Pilot Study

2021 ◽  
pp. 323-350
Author(s):  
Benjamin Toscher
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Qualitative Content Analysis ◽  
Entrepreneurship Education ◽  
Pilot Survey ◽  
Self Employment ◽  
The Subject ◽  
Definition Of ◽  
Teacher's Perspective ◽  
Pedagogical Approaches

Arts entrepreneurship education has been increasingly offered in Norwegian Higher Music Education (HME) since 2011 (Watne & Nymoen, 2017). I argue that a teacher’s perspective and definition of entrepreneurship influences how they teach the subject. Using a qualitative content analysis approach (Elo & Kyngäs, 2008; Mayring, 2000), this article explores a small (n=37) pilot survey of administrators and teachers from four institutes of HME in Norway. In addition to mapping respondents’ definitions of entrepreneurship to the most influential definitions of entrepreneurship from the literature, I explore their perceptions of the need for entrepreneurship in HME and their prescriptive changes for entrepreneurship education’s integration into the curriculum. Respondents most commonly defined entrepreneurship in the “opportunity creation, recognition, and exploitation” sense, with definitions related to “self-employment” and “innovation” being the second and third most common response, respectively. 95% of respondents perceive a need for entrepreneurship education in HME. Prescribing curricular changes, 57% of respondents see a need for a more market oriented and entrepreneurial focus in the current curriculum to “some extent”, 19% to a “large extent”, 16% to “a little extent”, and 8% to a “very little extent.” Rationale for such changes is further analyzed using Bridgstock’s (2013) typology of arts entrepreneurship pedagogical approaches. I conclude by guiding educators and readers to existing knowledge and tools in the literature as they relate to each arts entrepreneurship pedagogical approach – an organization of knowledge that is important given the field’s diversity of perspectives and the power an educator has in the subject’s implementation.

Courses for Secondary Instruments

2019 ◽  
pp. 344-363
Author(s):  
Molly A. Weaver
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Teacher ◽  
Promising Practices ◽  
Education Curriculum ◽  
Music Teacher Education ◽  
Teaching Activities ◽  
School Based ◽  
Secondary Instrument ◽  
Institutional Model

The main purpose of this chapter is to synthesize the literature regarding courses for secondary instruments in the interest of making recommendations for promising practices. The chapter also is intended to “push boundaries from within the system” of music teacher education. That is, it is intended to be a resource for those who prepare preservice music teachers (PMTs) for the realities of P-12 school-based music education and who aspire to instill in these new colleagues a disposition toward change. The chapter is divided into six sections: importance of secondary instrument courses, characteristics and configurations of secondary instrument courses, focus and content of secondary instrument courses, peer teaching activities and field experiences within secondary instrument courses, recommendations for promising practices (including professional development beyond the preservice music education curriculum and an institutional model for secondary instrument courses), and future considerations.

Developing Effective Dispositions for Teaching Music

2019 ◽  
pp. 321-344
Author(s):  
Michael Raiber
Keyword(s):  
Music Education ◽  
Teacher Educators ◽  
Systematic Approach ◽  
Music Teachers ◽  
Developmental Stages ◽  
Music Teacher ◽  
Teacher Dispositions ◽  
Teacher Concerns ◽  
Teaching Music ◽  
The Impact

The impact of teacher dispositions on the professional development of preservice music teachers (PMTs) has been substantiated. This chapter describes an approach to dispositional development within the structure of an introduction to music education course. A teacher concerns model is used to organize this systematic approach through three developmental stages that include self-concerns, teaching task concerns, and student learning concerns. A series of 11 critical questions are presented for use in guiding PMTs’ dispositional development through these developmental stages. Activities to engage PMTs in the exploration of each of these questions are detailed for use by music teacher educators desiring to engage PMTs in dispositional development.

The charmed dyad: Multimodal music lessons for pupils with severe or multiple disabilities

2021 ◽  
pp. 1321103X2097480
Author(s):  
Melissa Bremmer ◽  
Carolien Hermans ◽  
Vincent Lamers
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Teaching Practice ◽  
Meaning Making ◽  
Multiple Disabilities ◽  
Children's Music ◽  
Four Dimensions ◽  
Music Lessons ◽  
Multiple Case ◽  
Teaching Music

This multiple-case-studies research explored a multimodal approach to teaching music to pupils (from 4 to 18 years old) with severe or multiple disabilities. By combining music with, for example, tactile stimulation, movement, or visuals, meaning-making processes in music of these pupils was stimulated, helping them to understand the internal structures and expressive qualities of music. Three music teachers and a social worker participated in this study. Individual and collective video reflections and microanalysis were applied to gather data about their multimodal teaching practice. The data were analyzed through Schmid’s framework (2015) of “multimodal dimensions of children’s music experiences,” developed for general music education. This framework consists of four dimensions: narrativity, sociality, materiality, and embodiment. Based on the findings, Schmid’s framework could be revised for special education, thus providing music teachers with a tool for designing multimodal music lessons for pupils with severe or multiple disabilities.

The method of emotional education in music teaching

2021 ◽  
pp. 002072092098355
Author(s):  
Hui Hong ◽  
Weisheng Luo
Keyword(s):  
Middle School ◽  
Music Education ◽  
Teaching Methods ◽  
Music Teachers ◽  
Aesthetic Education ◽  
Music Teaching ◽  
True Meaning ◽  
School Music ◽  
Teaching Music ◽  
Emotional Education

Wang Guowei, a famous scholar and thinker in our country, thinks that “aesthetic education harmonizes people's feelings in the process of emotional music education, so as to achieve the perfect domain”, “aesthetic education is also emotional education”. Therefore, in the process of music education, emotional education plays an important role in middle school music teaching, and it is also the highest and most beautiful realm in the process of music education in music teaching. Music teachers should be good at using appropriate teaching methods and means. In the process of music education, they should lead students into the emotional world, knock on their hearts with the beauty of music, and touch their heartstrings. Only when students' hearts are close to music in the process of music education, can they truly experience the charm of music and realize the true meaning of music in the process of music education. Only in this way can music classes be effectively implemented The purpose of classroom emotion teaching.

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.

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.

Pre-service music teachers' satisfaction: person–environment fit approach

2012 ◽  
Vol 29 (3) ◽  
pp. 371-385 ◽  
Author(s):  
Serkan Perkmen ◽  
Beste Cevik ◽  
Mahir Alkan
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Teacher ◽  
Theoretical Frameworks ◽  
Vocational Satisfaction ◽  
Highly Correlated ◽  
Service Music ◽  
And Control ◽  
Future Work

Guided by three theoretical frameworks in vocational psychology, (i) theory of work adjustment, (ii) two factor theory, and (iii) value discrepancy theory, the purpose of this study was to investigate Turkish pre-service music teachers' values and the role of fit between person and environment in understanding vocational satisfaction. Participants were 85 students enrolled in the department of music education in a Turkish university. The Minnesota Importance Questionnaire (MIQ) was used to examine the participants’ values in six dimensions: achievement, comfort, status, altruism, safety and autonomy. Results revealed that the pre-service teachers value achievement most followed by autonomy, which suggests that they would like to have a sense of accomplishment and control in their future job. The degree to which their values fit their predictions about future work environment was found to be highly correlated with vocational satisfaction. These results provided evidence that the vocational theories used in the current study offers a helpful and different perspective to understand the pre-service teachers' satisfaction with becoming a music teacher in the future. We believe that researchers in the field of music education may use these theories and MIQ to examine the role of values in pre-service and in-service music teachers' job satisfaction.

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