The Journey From Instrumental to Elementary General Music Education: How to Succeed in a New Specialization

2018 ◽  
Vol 32 (1) ◽  
pp. 13-17
Author(s):  
Christa R. Kuebel
Keyword(s):  
Music Education ◽  
General Music ◽  
Education Majors ◽  
Music Classroom ◽  
Elementary General Music ◽  
Music Education Majors

For various reasons, instrumentalist music education majors may find themselves teaching in an elementary general music classroom. Based on research and experience, this article will discuss why the transition from instrumental to elementary general music education may occur as well as offer suggestions to support instrumentalists new to the elementary general music classroom.

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.

scholarly journals COLLABORATIVE VIDEO LOGS: VIRTUAL COMMUNITIES OF PRACTICE AND ALIVENESS IN THE MUSIC CLASSROOM

2019 ◽  
Vol 2019 ◽  
Author(s):  
Christopher Cayari
Keyword(s):  
Elementary Education ◽  
Music Education ◽  
Communities Of Practice ◽  
Virtual Communities ◽  
Education Majors ◽  
Or Education ◽  
Elementary Education Majors ◽  
Music Classroom ◽  
Virtual Communities Of Practice ◽  
Music Education Majors

A vlog or videoblog is a series of videos that feature someone speaking to the camera to present entertainment, reflection, opinion, or education. Collaborative vlogs (CVLs) involve multiple people taking joint ownership of a vlog through asynchronous interaction, discussion, and expression. This paper explores how online video helped create communities of practice both within the classroom and beyond through developing connections with each other that extended their interactions from the classroom to the Internet. Additionally, they creatively explored new ways to express themselves, developed their identities, and discussed pertinent topics regarding music, technology, and education. To explore the sociological vectors of culture and identity, I adapted a framework of aliveness within communities of practice developed by Wenger, McDermott, and Snyder (2002) to analyze seven semesters of student reflections on CVL projects in music courses that serviced music education majors, elementary education majors, and students from a variety of majors. Through CVLs, students have explored mediated musical practices and shared their lives and experiences in ways that classmates and instructors do not get to see when limited to the classroom. Students and vloggers alike deal with issues of trust within our digital society, and by critically analyzing how the participants in this study developed relationships with each other and me as their instructor, we can better understand how to move forward in the classroom and through social media, video broadcasting sites, and blogging. While the participants in this study were music students, CVLs can be applied to any discipline.

Developing 21st-Century Musicianship: Tablet-based Music Production in the General Music Classroom

2021 ◽  
pp. 104837132110344
Author(s):  
Jason Fick ◽  
Chris Bulgren
Keyword(s):  
Music Education ◽  
Learning Environments ◽  
21St Century ◽  
Contemporary Music ◽  
Music Instruction ◽  
Technology Skills ◽  
General Music ◽  
Music Classroom ◽  
Music Production ◽  
Essential Skills

Increased availability of tablets at home and in classrooms provides educators access to a powerful tool for music instruction. Music production lessons on tablets offer alternate approaches to developing music literacies while teaching valuable technology skills. These activities are ideal for general music education because they align with contemporary music practices and are adaptable to a variety of learning environments (in person, remote, and hybrid). This article will present a model for tablet-based music production instruction in the general music classroom that aligns with the National Core Arts Standards and accompanying process components grounded in five essential skills: sequencing, recording, editing, effects processing, and mixing.

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.

An Observational Study of Score Study Practices Among Undergraduate Instrumental Music Education Majors

2017 ◽  
Vol 65 (1) ◽  
pp. 52-71 ◽  
Author(s):  
Brian A. Silvey ◽  
Mark Montemayor ◽  
Christopher M. Baumgartner
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Education Majors ◽  
Preparation Programs ◽  
Score Study ◽  
Instrumental Music Education ◽  
Study Session ◽  
Significant Difference ◽  
Model Condition ◽  
Music Education Majors

The purpose of this study was to investigate undergraduate instrumental music education majors’ score study practices as they related to the effectiveness of their simulated conducting. Participants ( N = 30) were video recorded in two sessions in which they completed a 20-min score study session and a simulated conducting performance. In the first score study session, all 30 conductors studied Mini-Suite for Band, Movement 1. In Session 2, participants studied Portrait of a Clown but this time either with a model recording ( n = 15) or without one ( n = 15). We computed the overall duration of participants’ score study behaviors for both pieces. Additional data included graduate students’ evaluations of participants’ post–score study conducting performances and an inventory of participants’ score study markings. We found a significant difference in the proportion of time spent in score studying activities between the model and no-model condition conductors, with more time spent in gesturing when studying along with a model. Evaluations of participants’ conducting revealed no differences between those conductors who used a model and those who did not while studying Portrait of a Clown. Our analysis of conductors’ score markings revealed a small number of notable differences between stronger/weaker conductors and between model/no-model conditions. Implications for undergraduate conductor preparation programs are discussed.

Research-to-Resource: Developing a Culturally Responsive Mind-Set in Elementary General Music

2018 ◽  
Vol 37 (2) ◽  
pp. 11-14 ◽  
Author(s):  
Jacqueline Kelly-McHale
Keyword(s):  
Culturally Responsive ◽  
Community Context ◽  
General Music ◽  
Practical Applications ◽  
Music Classroom ◽  
School Teaching ◽  
Elementary General Music ◽  
Cultural Responsivity ◽  
Mind Set ◽  
Context Specific

The terms culturally responsive teaching and culturally responsive pedagogy have become more common in the vernacular of public-school teaching. However, practical applications of cultural responsivity are not often clearly presented due to the nature of being responsive. Responsivity requires knowledge of students and community (context) specific to each teaching context. Content and materials should then be derived from the development of the contextual understanding. This is why presenting a tool box of culturally responsive practices is not possible when seeking to become more culturally responsive in the classroom. This article seeks to situate cultural responsivity as a mind-set as opposed to an approach or method within the elementary general music classroom. Practical steps that can be taken toward the development of this mind-set are then presented with a focus on context and content.

Emotional Competence Within the Stress Coping Strategies of Music Education Students

2021 ◽  
pp. 002242942110614
Author(s):  
Michelle S. McConkey ◽  
Christa R. Kuebel
Keyword(s):  
Music Education ◽  
Coping Strategies ◽  
Life Stress ◽  
Emotional Competence ◽  
Stress Coping ◽  
Education Majors ◽  
Education Students ◽  
Emotional Competency ◽  
Stress Coping Strategies ◽  
Music Education Majors

Researchers have identified high levels of stress among music education students, but we know very little about how students manage this stress and how emotional competence skills might be utilized within stress coping mechanisms for this population. Through this qualitative study, we sought to understand the stress coping strategies of eight music education majors through the lens of emotional competence as outlined by Saarni. We identified several sources of participants’ stress: general life stress, schedule, performance expectations, and coursework. Student coping strategies included awareness of stress, an attitude of pushing through, self-care, and seeking support. Through coding and utilization of the theoretical framework, we concluded that all eight of Saarni’s emotional competence skills were evident in the data as a whole, but not for each individual participant. Minimal evidence was found for half of the skills and for some students they were nonexistent, thus indicating a need for growth in emotional competency. Gaining an understanding of how music education majors cope with their stress could be a key step toward understanding how to better support students throughout their degree programs and as they transition into the field of music education.

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