At the intersection of belief and practice: A mixed-methods study of elementary general music educator praxis

2021 ◽  
pp. 030573562110506
Author(s):  
Karen Salvador ◽  
Christina Svec ◽  
Jessica Glaser ◽  
Amy Sierzega ◽  
Alice Broadway
Keyword(s):  
Mixed Methods ◽  
Teaching Practices ◽  
Teaching And Learning ◽  
Linear Models ◽  
Descriptive Analysis ◽  
Music Educators ◽  
General Music ◽  
Music Teaching ◽  
Time Sampling ◽  
Elementary General Music

Recent research describing the practices of specialist elementary general music teachers and students is limited, and few research studies specifically examine how practicing music educators think about their music teaching practices. In this mixed-methods case study, we bridged these areas of research by examining music educators’ expressed beliefs about music teaching and learning in light of descriptive analysis and hierarchical linear models (HLM) of time sampling data of their teaching practices in elementary music classrooms. Participants ( N = 7) shared beliefs that everyone is musical and that music educators must therefore create an environment in which children develop their musicianship by singing, moving, and playing. Time sampling data indicated that teachers spent most of their time talking, while students spent most of their time sitting still and silent. Children in younger grades spent significantly more time in movement activities than those in older grades. HLM analyses provided predictive implications for teachers’ use of singing and movement. In this article, we present findings from qualitative analysis of planning artifacts, reflections, and interviews and from HLM of time sampling data, and discuss potential meanings for music teaching and music teacher education.

Characteristics of Early Childhood and Elementary General Music Methods Coursework for Preservice Music Teachers

2021 ◽  
pp. 105708372110245
Author(s):  
Karen Salvador ◽  
Mara E. Culp
Keyword(s):  
Early Childhood ◽  
Teacher Candidates ◽  
Music Teachers ◽  
Music Educators ◽  
Music Teacher ◽  
Teacher Education Programs ◽  
General Music ◽  
Music Teacher Education ◽  
Music Methods ◽  
Elementary General Music

Although many music teacher candidates begin university studies planning to teach secondary ensembles, most will ultimately be certified to teach younger children and may be called to do so. The purpose of this study was to examine how music teacher education programs prepare preservice music educators to teach music to children from birth through elementary school through coursework. We emailed survey invitations to representatives from 512 institutions accredited by the National Association of Schools of Music to prepare music educators. We received 134 usable responses (response rate = 26%). Nearly all respondents offered elementary general music methods (EGMM), and over three quarters required EGMM for all students in initial licensure programs. Only about one in ten responding institutions offered early childhood music methods (ECMM). We describe findings on EGMM and ECMM course structures, content, and materials as well as the employment status, degree background, and other qualifications of the person who typically taught this coursework

Improvisational Practices in Elementary General Music Classrooms

2013 ◽  
Vol 61 (4) ◽  
pp. 379-395 ◽  
Author(s):  
Lisa M. Gruenhagen ◽  
Rachel Whitcomb
Keyword(s):  
Music Educators ◽  
General Music ◽  
Musical Skills ◽  
Percussion Instruments ◽  
Elementary General Music ◽  
Pitched Percussion ◽  
Musical Understanding ◽  
Ongoing Support ◽  
Music Classrooms

Despite historic and ongoing support for the inclusion of improvisation in the elementary general music curriculum, music educators consistently report challenges with implementation of improvisational activities in their classes. This study was designed to examine (a) the extent to which improvisational activities were occurring in the participants’ elementary general music classrooms, (b) the nature of these improvisational activities, and (c) participants’ perceptions of the quality of their students’ improvisations. The most common improvisational activities reported by these teachers were question-and-answer singing, improvising on unpitched and pitched percussion instruments, and improvising rhythmic patterns using instruments. Analysis of their reflections on these activities revealed three broad themes: (a) process, practice, and experience, (b) sequencing, scaffolding, and modeling in instruction; and (c) collaboration, reflection, and creation. These teachers stated they were most interested in the quality of the improvisational process rather than with the product and indicated that sequencing was crucial in the instruction of improvisation. While some put less importance and priority on improvisation, the majority perceived it as necessary to the development of students’ musical skills, as an important way for students to show musical understanding, and as an empowering creative process that produces independent thinkers and musicians.

Being the Change: Music Teachers’ Self-Reported Changes in Mindset and Practice

2020 ◽  
Vol 39 (1) ◽  
pp. 17-26
Author(s):  
Karen Salvador ◽  
Allison Paetz ◽  
Abby Lewin-Zeigler
Keyword(s):  
Qualitative Analysis ◽  
Teaching Practices ◽  
Classroom Practices ◽  
Music Teachers ◽  
Teaching Experience ◽  
Music Educators ◽  
General Music ◽  
Practicing Teachers ◽  
Years Of Teaching Experience ◽  
Inclusive Instruction

Music educators sometimes enter the workforce un(der)prepared to design and implement inclusive instruction. The purpose of this descriptive interview study was to explore practicing teachers’ self-reported changes in mindset and practice as they worked to become more inclusive. Participants ( N = 20) were music educators with between 1 and 17 years of teaching experience. All participants taught some combination of preK–12 students in general music, choir, band, orchestra, jazz, and other music classes in 10 states. We present qualitative analysis from two sets of interviews concerning self-reported changes in mindsets and teaching practices. We conclude with implications of this study for practicing teachers who wish to enact more equitable and just classroom practices.

Integrating Social-Emotional Learning Into Our “New Normal” Teaching Elementary General Music

2020 ◽  
pp. 104837132096137
Author(s):  
Taryn Raschdorf ◽  
Brittany Nixon May ◽  
Amie Searcy
Keyword(s):  
Music Teachers ◽  
Social Emotional Learning ◽  
Music Educators ◽  
Emotional Learning ◽  
General Music ◽  
Music Curriculum ◽  
Social Emotional ◽  
Building Relationships ◽  
Music Classroom ◽  
Elementary General Music

As social-emotional learning (SEL) initiatives are being adopted by many states and school districts, many music teachers have been actively and successfully integrating SEL into their elementary general music curriculum. Whether teaching in person or remotely music educators can create an environment conducive to SEL by practicing mindfulness, building relationships with and between students, encouraging family music engagement, and engaging in inclusive music activities. In this column, you will find resources and ideas about SEL, discover how it looks and functions in the music classroom (virtual or not), and hear from music educators who currently incorporate SEL in their teaching.

Commentary: Music Learning and Teaching During Adolescence: Ages 12–18

2012 ◽  
pp. 435-440
Author(s):  
Gary Spruce ◽  
Oscar Odena
Keyword(s):  
Young People ◽  
Teaching And Learning ◽  
Music Educators ◽  
Music Teaching ◽  
Music Learning ◽  
Learning And Teaching ◽  
Key Issues ◽  
The Way

This article focuses on music teaching and learning during the adolescent years by identifying and exploring key issues, concepts, and debates that particularly impact on, or are significant for, the musical experiences and development of young people during this period of their lives. A number of key themes emerge from the discussions that cause us to question assumptions about the role of music in the lives of adolescents, including how young people use and relate to music, and the way music educators can best meet the challenges of addressing young people's musical and wider needs in the range of contexts in which their musical learning and experiences take place.

Developing a Student-centered and Inclusive Music Classroom

2011 ◽  
Author(s):  
Alice M. Hammel ◽  
Ryan M. Hourigan
Keyword(s):  
Teaching And Learning ◽  
Music Educators ◽  
Inclusive Classroom ◽  
Music Teaching ◽  
Students With Special Needs ◽  
Student Centered ◽  
Music Classroom ◽  
Contingent Praise ◽  
Close Supervision ◽  
Teaching Music

Classroom behavior is a common concern among many music educators. This is particularly true for music educators who teach in inclusive settings. This chapter is designed to provide effective tools and strategies at the micro-level (e.g., behavior and management techniques), and the macro-level by informing the reader of philosophical underpinnings that encompass a successful inclusive classroom. The socialization and lasting relationships that all students develop in school are also of considerable importance. Therefore it is imperative for music educators to strive for a caring, inclusive environment that is conducive for all students to learn. The practical strategies suggested at the end of this chapter are presented to encourage music educators to create a tolerant, caring classroom that is conducive for music teaching and learning. Many of the techniques discussed in this chapter are just examples of good teaching regardless of what population of students you are teaching. Effective classroom management begins long before the students enter the music room. A well-prepared environment is essential for optimal instruction and is particularly important when teaching music to students with special needs. This groundwork can be time-consuming and requires a thoughtful approach to the classroom setting; however, it is well worth the planning when the classroom becomes an inclusive and student-centered environment. Conroy, Sutherland, Snyder and Marsh (2008), explains that specific teacher interventions can lead to improved student behavior. These interventions include: (a) close supervision and monitoring, (b) classroom rules, (c) opportunities to respond, and (d) contingent praise. As music educators, we can apply these principles to music classrooms. The next section of this chapter is designed to relate these interventions to music teaching and learning, and to provide strategies for music teachers. Close supervision and monitoring. Conroy et. al found that close supervision and monitoring can by implemented in the music classroom in the following ways: (a) student proximity to the teacher; (b) a music teacher’s ability to visually monitor all students; (c) active engagement with students; (d) student access to teacher; and (e) ratio of adults to students that is conducive to close supervision.

Core Practices in Music Teaching: A Delphi Expert Panel Survey

2017 ◽  
Vol 27 (3) ◽  
pp. 51-64 ◽  
Author(s):  
J. Si Millican ◽  
Sommer Helweh Forrester
Keyword(s):  
Teaching Practices ◽  
Teaching And Learning ◽  
Elementary Music ◽  
Delphi Panel ◽  
Music Teaching ◽  
Pedagogical Content ◽  
Knowledge Framework ◽  
Musical Concepts ◽  
Core Practices ◽  
Knowledge Of Learners

The pedagogical content knowledge framework has been used to decipher the complexities of teaching by integrating subject matter knowledge with knowledge of teaching and knowledge of learners. Researchers in math, English, and history have modified this framework to identify core teaching practices within their disciplines. Core teaching practices are those that novices can begin to master and have a direct impact on student success. We developed a preliminary list of core practices in music using a Delphi panel approach. This panel of public school and college teachers with expertise in band, choir, orchestra, and elementary music found that modeling, sequencing instruction, and deconstructing musical concepts were core teaching practices that apply across a wide variety of teaching and learning contexts. The panel felt developing knowledge of and relationships with students was important for in-service teachers, but other practices should be developed first by novice teachers.

scholarly journals Biomechanical analysis of expert anesthesiologists and novice residents performing a simulated central venous access procedure

PLoS ONE ◽  
2021 ◽  
Vol 16 (4) ◽  
pp. e0250941
Author(s):  
Ignacio Villagrán ◽  
Cristóbal Moënne-Loccoz ◽  
Victoria Aguilera ◽  
Vicente García ◽  
José Tomás Reyes ◽  
...  
Keyword(s):  
Teaching And Learning ◽  
Linear Models ◽  
Central Venous Access ◽  
Descriptive Analysis ◽  
Venous Access ◽  
Biomechanical Analysis ◽  
Central Venous ◽  
Left Hand ◽  
Motion System ◽  
Random Intercept

Background Central venous access (CVA) is a frequent procedure taught in medical residencies. However, since CVA is a high-risk procedure requiring a detailed teaching and learning process to ensure trainee proficiency, it is necessary to determine objective differences between the expert’s and the novice’s performance to guide novice practitioners during their training process. This study compares experts’ and novices’ biomechanical variables during a simulated CVA performance. Methods Seven experts and seven novices were part of this study. The participants’ motion data during a CVA simulation procedure was collected using the Vicon Motion System. The procedure was divided into four stages for analysis, and each hand’s speed, acceleration, and jerk were obtained. Also, the procedural time was analyzed. Descriptive analysis and multilevel linear models with random intercept and interaction were used to analyze group, hand, and stage differences. Results There were statistically significant differences between experts and novices regarding time, speed, acceleration, and jerk during a simulated CVA performance. These differences vary significantly by the procedure stage for right-hand acceleration and left-hand jerk. Conclusions Experts take less time to perform the CVA procedure, which is reflected in higher speed, acceleration, and jerk values. This difference varies according to the procedure’s stage, depending on the hand and variable studied, demonstrating that these variables could play an essential role in differentiating between experts and novices, and could be used when designing training strategies.

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