Teaching the Korean Folk Song (Arirang) Through Performing, Creating, and Responding

2017 ◽  
Vol 31 (1) ◽  
pp. 16-25 ◽  
Author(s):  
Hyesoo Yoo ◽  
Sangmi Kang
Keyword(s):  
Music Teachers ◽  
Music Educators ◽  
Folk Songs ◽  
Folk Song ◽  
Upper Elementary ◽  
Depth Information ◽  
General Music ◽  
Comprehensive Musicianship ◽  
Music Standards ◽  
Music Classrooms

This article introduces a pedagogical approach to teaching one of the renowned Korean folk songs ( Arirang) based on the comprehensive musicianship approach and the 2014 Music Standards (competencies in performing, creating, and responding to music). The authors provide in-depth information for music educators to help their students achieve learning outcomes for the skill, knowledge, and affect domains of the Korean folk song ( Arirang). Furthermore, the authors offer music lessons for Arirang in a variety of ways that are appropriate for upper elementary and secondary general music classrooms, including performing, creating, and responding to the music. An educational website that includes exemplary lesson plans, videos, and worksheets is also provided to help music teachers obtain content and pedagogical knowledge of Arirang.

Engaged Listening Experiences: A World Music Sampler

2019 ◽  
Vol 33 (3) ◽  
pp. 14-20
Author(s):  
Hyesoo Yoo ◽  
Sangmi Kang ◽  
Camilo I. Leal ◽  
Abbey Chokera
Keyword(s):  
Culturally Diverse ◽  
Music Teachers ◽  
Music Educators ◽  
World Music ◽  
Upper Elementary ◽  
General Music ◽  
Listening Skills ◽  
Listening Strategies ◽  
Music Classrooms ◽  
The U.S

As the U.S. population has become significantly more culturally diverse, many music educators have acknowledged the necessity to implement culturally diverse musics in music curricula. One of the challenges in teaching culturally diverse musics is designing a balance between performing-based activities and other activities such as listening, improvising, and composing activities. Despite the importance of developing students’ listening skills, listening lessons are still relatively deficient within the context of world musics. Therefore, we provide general music teachers with engaged listening strategies for implementing world music lessons in music classrooms. The lessons provided in this article are appropriate for upper elementary and secondary general music classrooms.

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

Promoting Gender Inclusivity in General Music: Considerations for Music Listening

2021 ◽  
pp. 104837132110160
Author(s):  
Tiger Robison ◽  
Mara E. Culp
Keyword(s):  
Student Learning ◽  
Music Teachers ◽  
Music Listening ◽  
General Music ◽  
Listening Skills ◽  
Music Classrooms ◽  
Improve Student Learning

General music teachers can promote gender inclusivity in music classrooms through music listening activities. Helping all students feel included and honored could improve student learning and foster continued and diversified music listening in school and beyond. The purpose of this article, the first of three about gender inclusivity in general music, is to help music teachers create inclusive general music experiences to support all students during music listening activities. By knowing learners as individuals, teachers can help all students feel valued in music classrooms, which may serve to deepen and extend their music listening skills and preferences.

Scott Joplin: A Guide for Music Educators Part III—Ragtime Spaces

2021 ◽  
pp. 104837132110344
Author(s):  
Kendra Kay Friar
Keyword(s):  
Music Education ◽  
Music Educators ◽  
General Music ◽  
Racial Uplift ◽  
Student Activities ◽  
Cultural Contexts ◽  
Cultural Globalization ◽  
Music Standards ◽  
Entrepreneurial Activities ◽  
K 12

Scott Joplin was an African American composer and pianist of singular merit and influence. This article is the final entry in a three-part series considering the biographical, artistic, and cultural contexts of Joplin’s life and work and their use in K–12 general music education. “Ragtime Spaces” focuses on cultural globalization and the modernist entertainment aesthetic which supported Joplin’s work. Scott Joplin’s creative and entrepreneurial activities embodied humanism, racial uplift, and craftsmanship at a time when society became increasingly racially segregated and dehumanized. The discussion is followed by suggested student activities written in accordance with National Association for Music Education’s 2014 National Music Standards.

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.

Choosing Engaging Tools for the Music Classroom

2021 ◽  
pp. 43-55
Author(s):  
James Thomas Frankel
Keyword(s):  
Case Studies ◽  
Music Teachers ◽  
Music Educators ◽  
Music Classroom ◽  
Software Designers ◽  
Music Making ◽  
The World ◽  
Software And Hardware ◽  
Teaching Learning ◽  
Music Classrooms

Over the course of the past fifty years, countless software and hardware products have been introduced into music classrooms around the world with varying degrees of pedagogical success. The majority of these products were geared toward professional and amateur musicians and composers, only to be introduced to music teachers, either organically (teachers bringing real-world products into their classrooms) or through the efforts of manufacturers to obtain a new revenue stream for their products by selling them to schools. Knowing this, teachers often find it difficult to become aware of, identify, and choose these tools for use in their classroom instruction. The chapter presents key elements in successfully identifying and implementing creative, intuitive, and engaging tools for teaching, learning, and music making in the music classroom, as well as measuring their efficacy. Case studies focusing on the practices of several music educators are presented, including interviews with the software designers to illuminate the process behind innovative design. In addition to these case studies, a discussion of current products and their individual features and design ethos is given, with an emphasis on concepts instead of brands and devices.

Eunice Boardman’s Generative Theory of Musical Learning and the Holt Music Textbooks

2017 ◽  
Vol 39 (2) ◽  
pp. 195-214
Author(s):  
Angela Munroe
Keyword(s):  
Music Teachers ◽  
Music Educators ◽  
Series Data ◽  
General Music ◽  
Secondary Sources ◽  
Generative Theory ◽  
Textbook Series

Many general music teachers use a variety of methods in their classrooms. The Generative Theory of Musical Learning can serve as a basis for a variety of general music methodologies. Developed by Eunice Boardman, the Generative Theory of Musical Learning influenced general music textbooks from 1966 to 1988, and it continues to influence music educators even today. The purpose of this study was to examine how the theory influenced the six editions of the Holt Music textbook series and to determine how its ideas have continued to be disseminated since the final edition of the Holt series. Data were collected through examination of a variety of primary and secondary sources, including the Holt Music series textbooks, published and unpublished writings from Eunice Boardman, and interviews with coauthors of the series. The study traces the development of the ideas behind the Generative Theory, its influence on the Holt Music series from 1966 to 1988, and the dissemination of the ideas following the conclusion of the series.

A Historical Perspective from Folklorist Henry Glassie: Roots of Folk Songs in Music Education

2021 ◽  
pp. 153660062110092
Author(s):  
Ian Cicco, M.M.Ed.
Keyword(s):  
Music Education ◽  
Folk Songs ◽  
Folk Song ◽  
Professor Emeritus ◽  
General Music ◽  
Indiana University ◽  
Music Classroom ◽  
Field Notes ◽  
Elementary General Music ◽  
Oral History Interviews

The purpose of this study was to examine the sociocultural roots of folk songs from the perspective of renowned folklorist Henry Glassie. Dr. Henry Glassie holds the rank of Professor Emeritus at Indiana University, where he previously served on the faculty for the Department of Folklore and Ethnomusicology. Primary sources included Glassie’s archived collection of folk song transcriptions, recordings, and field notes from the Appalachian region between 1961-1967, housed at the Archives of Traditional Music at Indiana University. A total of 1,665 titles from elementary general music sources were cross-referenced with Glassie’s collection, 26 of which appeared in the archived account. Two oral history interviews with Glassie revealed that folk songs that are commonly used in elementary general music classrooms have historical roots of which teachers may be unaware. The songs in this study raise ethical and moral questions regarding their use in the general music classroom and suggest that teachers carefully research folk songs and their related meanings.

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