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.

Part 1: Community Music Therapy and El Sistema: Addressing the Empowerment Needs of Individuals and Communities Facing Socioeconomic Marginalization

2019 ◽  
Vol 11 (1) ◽  
pp. 23
Author(s):  
Virginia Eulacio Cierniak
Keyword(s):  
Social Capital ◽  
Social Justice ◽  
Music Education ◽  
Music Therapy ◽  
Community Music ◽  
Program Structure ◽  
Education Practice ◽  
Music Program ◽  
El Sistema

Music is an accessible tool for positive change within people and societies, even in places facing socioeconomic marginalization due to poverty, discrimination, and lack of access to resources. Social capital has to do with the resources and networks available within society, which may help confront issues faced by individuals and communities. Community Music Therapy (CoMT) and the music education movement known as El Sistema both utilize music—understood as social capital—to address social justice. The purpose of this study was to comparatively examine the ways in which CoMT and El Sistema programs may address the empowerment needs of individuals and communities facing socioeconomic marginalization and suggest how these two approaches may be able to work synergistically to achieve their shared goals. Its findings reveal many parallels and divergence between El Sistema and CoMT in terms of the role of the music, program structure, social justice goals, outcomes, music education practice, areas of intersection, existing scholarly research, and criticisms each has received.

Part 2: Community Music Therapy and El Sistema: A Multiple Case Design Study Reflecting Music's Empowerment in Marginalized Communities

2019 ◽  
Vol 11 (1) ◽  
pp. 30
Author(s):  
Virginia Eulacio Cierniak
Keyword(s):  
Social Capital ◽  
Social Justice ◽  
Music Education ◽  
Music Therapy ◽  
Community Music ◽  
Marginalized Communities ◽  
Education Practice ◽  
Music Program ◽  
El Sistema ◽  
Multiple Case

Music is an accessible tool that has been used to foster change within people and societies, even in those places facing socioeconomic marginalization due to poverty, discrimination, and lack of access to resources. Social capital has to do with the resources and networks available within a society, which may help confront issues faced by individuals and communities. Community Music Therapy (CoMT) and the music education movement known as El Sistema* both utilize music—understood as social capital—to address social justice. Part I of this article defines CoMT and examines the purpose and goals of CoMT and El Sistema comparatively, and the ways in which their programs may address the empowerment needs of individuals and communities facing socioeconomic marginalization. Part II reviews the findings of a study that leads toward a suggestion of how these two approaches may be able to work synergistically to achieve their shared goals. Findings reveal many parallels and divergences between El Sistema and CoMT which may be useful in advancing change. This article defines the role of the music, program structure, social justice goals, outcomes, music education practice, areas of intersection, existing scholarly research, and criticisms each has received, in an effort to further advance the understanding and possibilities music’s influence may have on society. 

Pre-service music teacher perceptions of peer feedback

2019 ◽  
pp. 1321103X1986229
Author(s):  
Roy M Legette ◽  
Johanna Royo
Keyword(s):  
Music Education ◽  
Teacher Perceptions ◽  
Peer Feedback ◽  
Music Teacher ◽  
Methods Course ◽  
Teachers Perceptions ◽  
Service Music ◽  
Vantage Points ◽  
Music Education Majors ◽  
Giving Feedback

The purpose of this case study was to examine pre-service music teachers’ perceptions of peer feedback from two different vantage points (giving and receiving). Music education majors ( N = 4) enrolled in a choral music teaching methods course were asked to develop a series of lessons over a semester, teach them to their peers, and provide oral and written feedback. Each student also participated in five post-lesson interviews. Participants expressed appreciation for receiving and giving feedback and perceived feedback from peers as more empathetic than feedback received from the instructor. All participants reported that peer feedback was helpful and most felt that time together helped them feel more comfortable and supported. Implications for teaching and research are discussed.

Assisting Preservice Teachers Toward More Motivationally Supportive Instruction

2015 ◽  
Vol 34 (1) ◽  
pp. 119-130 ◽  
Author(s):  
Dana Perlman
Keyword(s):  
Preservice Teachers ◽  
Physical Education ◽  
Secondary Students ◽  
Repeated Measures ◽  
Autonomy Support ◽  
Methods Course ◽  
Control Group ◽  
Teachers Perceptions ◽  
Instructional Behaviors ◽  
Teachers And Students

The purpose of this study was to examine the influence of an intervention grounded in Self-Determination Theory on preservice teachers’ instructional behaviors and the motivational responses of their students. A total of 62 preservice physical education teachers enrolled in a secondary physical education content and methods course were randomly assigned to either a treatment (n = 31) or a control group (n = 31). The study employed a pretest/posttest design and data were collected through: (a) observation of preservice teachers’ instruction, (b) a survey measuring preservice teachers’ perceptions of their autonomy support, and (c) a survey measuring secondary students’ motivation. Data analysis used repeated-measures ANOVAs to examine differences between the groups. Results indicated significant changes in autonomy-support for both teachers and students exposed to the intervention.

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.

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.

Service-Learning Opportunities for Preservice Music Teachers within Community Music Settings

2019 ◽  
pp. 641-667
Author(s):  
Jared R. Rawlings
Keyword(s):  
Preservice Teachers ◽  
Service Learning ◽  
Teacher Development ◽  
Learning Opportunities ◽  
Music Teacher ◽  
Teacher Preparation Program ◽  
Community Music ◽  
Learning Program ◽  
Learning Opportunity ◽  
Learning Programs

Authentic teaching opportunities are important for all preservice teachers, and service-learning opportunities within community music settings support preservice music teacher development. The purpose of this chapter is to document a service-learning opportunity within a community music school and showcase the benefits and challenges of a partnership between a music teacher preparation program and this school. After defining service learning and describing how it is utilized in music teacher education, the chapter uncovers the following topics: establishing a community music partnership, designing a service-learning opportunity, and evaluating the outcomes of service-learning programs. The chapter concludes with a discussion of the implications of and recommendations for utilizing a multi-tier service-learning program alongside a preservice music teacher curriculum.

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.

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