Appraising the extent of digital divide between music teachers and students in Anambra state secondary schools, Nigeria

2021 ◽  
pp. 025576142098624
Author(s):  
Eyiuche Rita Modeme ◽  
Adebowale Adeogun
Keyword(s):  
Secondary Schools ◽  
Music Education ◽  
Digital Divide ◽  
Music Teachers ◽  
Information And Communications Technology ◽  
Music Curriculum ◽  
Reliability Indices ◽  
Anambra State ◽  
High Extent ◽  
Teachers And Students

The study investigated the extent of existence of digital divide between music teachers and students in selected secondary schools in Anambra state. Two objectives and two research questions guided the study using mixed-research design. Three education zones consisting of nine public secondary schools, 18 music teachers and 270 music students formed the sample for the study. Structured questionnaires and oral interview were developed for teachers and students and used for collecting data from the field. The data gathered were presented quantitatively and qualitatively. The reliability indices were .71 and .70 for teachers and students, respectively. Mean and standard deviation and t test were the statistical tools used in the analysis of the work. The findings revealed high extent of digital divide based on the responses of music teachers and students on the place of information and communications technology (ICT) in operative curriculum. There was low extent of digital disparity in ICT knowledge on the teachers’ part and high extent on the students’ part. The recommendations were as follows: the present music curriculum should be restructured to integrate ICT in order to meet the needs of 21st-century music education, and music teachers should be trained to have the wherewithal in ICT applications for bridging the digital disparities.

Making sense of music education policy

2007 ◽  
Vol 24 (2) ◽  
pp. 135-146 ◽  
Author(s):  
Antonia Forari
Keyword(s):  
Education Policy ◽  
Music Education ◽  
Music Teachers ◽  
Music Curriculum ◽  
Policy Studies ◽  
Making Sense ◽  
Teachers And Students ◽  
Music Education Policy ◽  
The Way

This article looks at the way music education policy is realised in three curriculum contexts: the formation of the official music curriculum, its implementation by music teachers and its reception by students. Working from within the field of education policy studies, I have collected data on music education in Cyprus in order to explore what music teachers and students might expect from a music curriculum and have compared this with what the official music curriculum actually prescribes. The findings constitute distinct sets of educational ideologies and indicate areas of fragmentation between the three contexts. I discuss some implications and make suggestions for conceptualising music education policy. I conclude that music education policy needs to be construed as a polydynamic process which is polyglot, polycentric and polymorphic in its nature.

Understanding an Invisible Minority: A Literature Review of LGBTQ+ Persons in Music Education

2021 ◽  
pp. 875512332110157
Author(s):  
Brian J. Panetta
Keyword(s):  
Literature Review ◽  
Music Education ◽  
Minority Groups ◽  
Music Teachers ◽  
Minority Group ◽  
Music Educators ◽  
Music Curriculum ◽  
Teachers And Students ◽  
Lgbtq Students ◽  
Music Classrooms

The topics of inclusivity and diversity in music education have drawn increased attention to how different minority groups experience music education. Unlike concerns surrounding most gender and race issues, lesbian, gay, bisexual, trans, queer, and other sexual and/or gender minority (LGBTQ+) students and teachers are not always as visibly identifiable as other minority groups and therefore can easily be overlooked. In this literature review, I examine research specific to the LGBTQ+ community, representing an invisible minority group in music classrooms with the aim to raise awareness of the unique obstacles that LGBTQ+ music teachers and students face, so that further discussions engaging music educators might have a stronger knowledge base. Findings suggests that many LGBTQ+ music educators struggle to fully embrace their identity, often having to negotiate professional and personal personalities out of fear or uncertainty. Although music classrooms are often considered safe spaces for LGBTQ+ students, the music curriculum should be more inclusive.

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 and Social Justice

2021 ◽  
Author(s):  
Cathy Benedict
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Elementary Students ◽  
Music Teachers ◽  
Elementary Music ◽  
Elementary Student ◽  
Teachers And Students ◽  
The Voice ◽  
Elementary Music Education ◽  
The Way

This book challenges and reframes traditional ways of addressing many of the topics we have come to think of as social justice. Offering practical suggestions for helping both teachers and students think philosophically (and thus critically) about the world around them, each chapter engages with important themes through music making and learning as it presents scenarios, examples of dialogue with students, unit ideas, and lesson plans geared toward elementary students (ages 6–14). Taken-for-granted subjects often considered sacrosanct or beyond the understanding of elementary students, such as friendship, racism, poverty, religion, and class, are addressed and interrogated in a way that honors the voice and critical thinking of the elementary student. Suggestions are given that help both teachers and students to pause, reflect, and redirect dialogue with questions that uncover bias, misinformation, and misunderstandings that too often stand in the way of coming to know and embracing difference. Guiding questions, which anchor many curricular mandates, are used throughout in order to scaffold critical and reflective thinking beginning in the earliest grades of elementary music education. Where does social justice reside? Whose voice is being heard, and whose is being silenced? How do we come to think of and construct poverty? How is it that musics become used the way they are used? What happens to songs initially intended for socially driven purposes when their significance is undermined? These questions and more are explored, encouraging music teachers to embrace a path toward socially just engagements at the elementary level.

Teaching Music to Support Students: How Autonomy-Supportive Music Teachers Increase Students’ Well-Being

2020 ◽  
Vol 68 (1) ◽  
pp. 97-119 ◽  
Author(s):  
Arielle Bonneville-Roussy ◽  
Emese Hruska ◽  
Hayley Trower
Keyword(s):  
Music Education ◽  
Autonomy Support ◽  
Music Teachers ◽  
Music Performance ◽  
Well Being ◽  
Music Students ◽  
Teacher Student Relationships ◽  
Teacher Student ◽  
Teachers And Students ◽  
Performance Teachers

According to self-determination theory (SDT), the learning experiences of music students can be explained partly by the autonomy-supportive style adopted by their music teachers. To provide the first in-depth understanding of how music performance teachers support the autonomy of their students and how this support is related to students’ well-being, we adopted SDT and the PERMA model of well-being. We provide answers to three fundamental questions about teacher-student relationships in music: (1) Do music performance teachers support the autonomy of their students in higher music education? (2) How do students perceive this support? and (3) How does autonomy support affect music students’ well-being? Music performance teachers ( n = 35) and students ( n = 190) were recruited from higher music education institutions in the United Kingdom. Analyses included mean comparisons of teachers’ and students’ answers to survey questions, correlational analyses of teacher-student dyads’ responses on measures, and qualitative analyses of open-ended questions. Results showed that teachers and students mostly agreed that teachers provide autonomy support to their students. Teachers’ transmission of passion for music and autonomy-supportive behaviors were related to students’ well-being, whereas controlling behaviors hindered well-being. Qualitative results showed that although students put well-being at the core of their concerns, music teachers seemed unaware or ill-prepared to face those concerns.

Elsie Shawe, Music Supervisor in St. Paul, Minnesota (1898–1933)

2004 ◽  
Vol 52 (4) ◽  
pp. 328-342
Author(s):  
Sondra Wieland Howe
Keyword(s):  
Public Schools ◽  
Music Education ◽  
Music Teachers ◽  
National Level ◽  
The United States ◽  
National Accounts ◽  
Music Curriculum ◽  
School Music ◽  
The Board Of Directors ◽  
Music Supervisor

Elsie Shawe (1866–1962), supervisor of music in St. Paul, Minnesota, for thirty-five years, is an example of a music supervisor in the United States who was active in the formative years of the Music Supervisors National Conference (MSNC). Although she is cited only briefly in national accounts, there is a substantial amount of material on her career in local archives. In the St. Paul Public Schools, Shawe supervised classroom teachers, organized the school music curriculum, and conducted performances in the community. She served as a church organist and choir director in St. Paul and was president of the Minnesota Music Teachers Association. At the national level, Shawe was an officer of the NEA Department of Music Education and a member of the board of directors of the MSNC. Through her committee work, Shawe promoted the standardization of patriotic national songs.May 5, 2004November 10, 2004.

scholarly journals Collective Music Making – Challenges and Perspectives

2017 ◽  
Vol 9 (1) ◽  
pp. 1-6
Author(s):  
Guntars Bernats ◽  
Irena Trubina
Keyword(s):  
Music Education ◽  
Theoretical Basis ◽  
Music Teachers ◽  
Listening Skills ◽  
Study Programs ◽  
Teachers And Students ◽  
Program Content ◽  
Survey Results ◽  
Cooperation Partners ◽  
Musical Process

Abstract Over the past decade professionally oriented music education in Latvia has undergone a series of reforms, which significantly affects the collective musical place and role. Aim of the present study: explore the theoretical basis and the further development of collective musical promotion. Materials and methods: The study was conducted in several stages. Originally analyzed scientific literature and training programs for Latvian cultural institutions to develop a theoretical basis 1 - 4th grade professional orientation of Instrument program content creation. Researched were study programs in Latvian universities, which acquired music pedagogy. The next stage of the research were interviewed employers, music teachers and students - future music teachers and, based on the survey results, the creation of new qualifications and new courses in a number of higher education programs. Conclusions: 1. Involving learners in the collective musical process, they are provided (ensured) the ability to comprehensively develop the musical, both in general and also the movement of psychophysiological abilities. 2. Collective musical process develops the essential skills such as socialization, cooperation partners and listening skills. 3. Learners are formed as a personality by acting in musical collective, they develop different skills. 4. Students learning motivation creation and promotion is very important. Musical collective process involved not only contributes to motivation, but creates opportunities for self-realization, without which one can not become filled and self-contained.

scholarly journals Organizational culture as correlate of teachers’ job performance and attitude to work in secondary schools in Anambra State Nigeria

2020 ◽  
Vol 16 ◽  
pp. 29-61
Author(s):  
Boniface Emengini ◽  
Ada Sam Omenyi ◽  
Christopher Amobi Nwankwo
Keyword(s):  
Organizational Culture ◽  
School Culture ◽  
Secondary School ◽  
Secondary Schools ◽  
Job Performance ◽  
Significant Relationship ◽  
Positive Attitude ◽  
Reliability Indices ◽  
Anambra State ◽  
Research Questions

The study investigated organizational culture as correlate of teachers’ job performance and attitude to work in secondary schools in Anambra State, Nigeria. Five research questions guided the study and six null hypotheses were tested. The study adopted correlational survey research design. The population of the study comprised all the 6396 teachers in public secondary schools in the state. Out of the population, a sample size of 1279 teachers was drawn through proportionate stratified random sampling techniques. Data was collected using three different questionnaires developed by the researchers. The questionnaires include school organizational culture questionnaire (SOCQ), Teachers’ job performance questionnaire (TJPQ) and Teachers’ attitude to work questionnaire (TAWQ). The instruments were validated by three experts from Faculty of Education Nnamdi Azikiwe University Awka. Cronbach Alpha method was used to determine the reliability of the instruments which yielded a reliability coefficient of .959, .957 and 0.701 respectively. The reliability indices were considered high enough and thus the instruments were deemed reliable. Data collection was done by the researchers with the help of ten research assistants. Aggregate score was used to answer research questions 1 to 3 while Pearson r was used to answer research questions 4 and 5 and critical probability table of Pearson r was used to take decision on the six null hypotheses at 0.05 level of significance. The findings showed among others that: teachers rated their school organizational culture to be good; teachers’ job performance is good and teachers have positive attitude to their work. Also, it was found that there is no significant relationship between school organization culture and teachers’ job performance; and no significant relationship between school organizational culture and teachers’ attitude to work. Based on the findings it was recommended that: School management and management of Anambra State post primary school service Commission should ensure improvement in secondary school culture in order that all the teachers would rate their school culture to be good without some rating it to be poor. It was also recommended that in- service training be organized for secondary school teachers through seminars, workshops and advance learning in order to ensure that all of the teachers have good job performance and positive attitude to work. Keywords: Correlate, Organizational Culture, Teachers, Job Performance and Attitude to Work

Music teachers and their implementation of the new Music Curriculum Standards in China

2019 ◽  
Vol 37 (2) ◽  
pp. 178-197
Author(s):  
Zhuo Yu ◽  
Bo-Wah Leung
Keyword(s):  
Music Education ◽  
Rural Schools ◽  
Music Teachers ◽  
Current Knowledge ◽  
Curriculum Standards ◽  
Music Curriculum ◽  
Structured Interviews ◽  
Student Centered ◽  
Service Training ◽  
Trained Teachers

The Ministry of Education of China issued a new document of Music Curriculum Standards in 2011 substituting the old version of 2001. This study aims to investigate how music teachers in China implement and respond to the Curriculum Standards through a questionnaire survey and semi-structured interviews with voluntary teachers. A total of 2206 music teachers from 15 regions/provinces responded to the survey in 2015. Findings reveal that, after a few years of implementation, most teachers found different constraints in implementing the new curriculum. Trained teachers, younger teachers and experienced teachers are more receptive and capable in implementing the curriculum, while rural schools are still in a disadvantaged situation. Most teachers do not understand the concept of music education as aesthetic education. In-service training is found to be insufficient, especially in rural schools. In sum, the current ‘knowledge-centered curriculum’ might need to be redirected to the directions of society-centered and student-centered in order to make a balance.

Challenges and visions in school music education: Focusing on Chinese and Lithuanian realities

2019 ◽  
Vol 6 (1) ◽  
pp. 38-46
Author(s):  
Jolanta Lasauskiene ◽  
Youdi Sun
Keyword(s):  
Music Education ◽  
General Education ◽  
Historical Development ◽  
General Music ◽  
Music Curriculum ◽  
Education Improvement ◽  
School Music ◽  
Teachers And Students ◽  
Similarities And Differences ◽  
Insight Into

This article focuses on music education in Chinese and Lithuanian schools, especially on the latest reforms of the national music curriculum for basic and general education. Due to the original reasons and historical development in the east and west, the philosophies of educations are different, resulting in differences in concepts of education, goals of education, methods of education, roles of teachers and students. The process of collecting information for music education in Lithuania and China will be explained in order to gain insight into specific issues related to each country. The resulting similarities and differences between Chinese and Lithuanian school music education are reported, and suggestions for basic and teacher education improvement are discussed. Most importantly, the findings of this study have highlighted that the notions of school music education in Lithuania and China are insignificantly different. Keywords: Chinese general music education, music curriculum, music activities, Lithuanian general music education.

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