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.

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

Charles Faulkner Bryan's Legacy for General Music

1998 ◽  
Vol 46 (2) ◽  
pp. 223-238
Author(s):  
Carolyn Livingston
Keyword(s):  
Music Teachers ◽  
Art Music ◽  
Music Educators ◽  
General Music ◽  
Music Curriculum ◽  
Work Habits ◽  
Positive Attitudes ◽  
Student Interests ◽  
Multicultural Music ◽  
Musical Knowledge

Charles Faulkner Bryan (1911-1955), music educator and ethnomusicologist, was best known as a composer who was influenced by Appalachian folk music. This study focuses on his ideas about general music and the qualities of exemplary music teachers. Bryans own general music curriculum and his teaching attributes are also examined. Bryan believed in solid planning for instruction and maintained that the general music curriculum should be eclectic, experiential, community-oriented, founded on local culture and student interests, and include both vernacular and art music. Bryan valued adaptability, resourcefulness, and creativity in music educators. He believed that a teacher should demonstrate thorough musical knowledge, strong technical skill, an attractive personality, good work habits, and positive attitudes. By all accounts, he displayed these qualities in his own teaching. Bryan designed and taught a general music course that included multicultural music and curriculum integration. His work may have influenced present practices and curricula.

An Orientation to Musical Pedagogy

2017 ◽  
Author(s):  
Birch P. Browning
Keyword(s):  
Effective Teachers ◽  
Music Teachers ◽  
Music Educators ◽  
Music Curriculum ◽  
Specialized Knowledge ◽  
Music Classroom ◽  
Professional Educators ◽  
Instructional Context ◽  
New Vision ◽  
Service Music

Novice music educators often experience conflict between their roles as teachers and their roles as musicians. The broad purpose of this text is to assist pre-service music teachers as they begin the transition from students to professional educators and musicians by challenging what they think they know about those two distinct yet complementary roles. Rather than perpetuating existing practice, these future educators are encouraged to build their own new vision for music curriculum and education by examining the "big concepts" of teaching and musicianship based on several research-based ideas: (1) There's no such thing as talent, (2) effective teachers have specialized knowledge about their subject, students, pedagogy, and instructional context, and (3) musicianship is not magic. More important, through deliberate thought and action, pre-service music teachers can learn the concepts and practices of expert teachers and musicians and incorporate them into the music classroom. Attention is given to how students learn and to designing and delivering engaging classroom instruction.

General Music Learning Is Also Social and Emotional Learning

2019 ◽  
Vol 33 (2) ◽  
pp. 74-78
Author(s):  
Edward Varner
Keyword(s):  
Music Teachers ◽  
Social And Emotional Learning ◽  
Primary Objective ◽  
Emotional Learning ◽  
General Music ◽  
Self Awareness ◽  
Music Learning ◽  
Social And Emotional ◽  
Music Classroom ◽  
Music Program

The purpose of this article is to highlight the relationship between general music and social and emotional learning. Social and emotional learning involves a set of social, emotional, behavioral, and character competencies that are essential to success in school, in the workplace, within relationships, in the community, and in life. Music teachers are uniquely positioned to help students become more socially and emotionally competent while simultaneously developing the skills outlined in the general music curriculum. Many general music program activities reinforce and help students understand the concepts of self-management, self-awareness, responsible decisionmaking, relationship skills, and social awareness. Activities such as improvisation, ensemble playing and singing, and defining emotions with music can be used to develop social and emotional learning skills in the general music classroom. The primary objective of this article is to help general music teachers understand that general music learning environments naturally lend themselves well to aiding in these efforts.

Teachers’ Perceptions on Current Piano Use in the Elementary General Music Classroom

2016 ◽  
Vol 35 (2) ◽  
pp. 23-29 ◽  
Author(s):  
Valerie A. Baker
Keyword(s):  
Music Teachers ◽  
Elementary Music ◽  
Future Research ◽  
General Music ◽  
Teachers Perceptions ◽  
Music Classroom ◽  
Teacher Opinion ◽  
Younger Age ◽  
Piano Lessons ◽  
Elementary General Music

The purpose of this study was to identify teacher opinion of piano use, the amount of piano use, and current purposes for pianos in elementary general music classrooms. A geographically diverse sample of general music teachers ( N = 189) completed a piano use survey. The data indicated that teachers felt piano was an important part of elementary music and that the piano should be used for accompaniment more than any other purpose. Pianos were most commonly used on a weekly basis. Teachers who began piano lessons at a younger age also tended to use more piano in their classrooms. Qualitative statements made about piano use were positive and enthusiastic. This study provides direction for future research in the investigation of relationships between amount of piano use and teacher variables, and the amount of a cappella singing in the elementary classroom.

Teaching about the Korean Ganggangsullae Folk Tradition in General Music Class

2019 ◽  
Vol 105 (3) ◽  
pp. 45-53
Author(s):  
Gina J. Yi
Keyword(s):  
Folk Music ◽  
Music Teachers ◽  
Historical Background ◽  
Western Music ◽  
General Music ◽  
Music Curriculum ◽  
Music Classroom ◽  
Korean Folk Music ◽  
Music Class ◽  
Folk Tradition

Korean folk music has been rarely included in the Western music curriculum due to limited materials for music teachers to use. This article introduces Ganggangsullae, a prominent Korean folk tradition (called a “folk play” by Koreans) that incorporates singing and dancing, and discusses its historical background and the unique elements of Korean folk music that it illuminates: Korean rhythm, minyo singing, dancing, and dialogue play. In addition, this article offers practical teaching guidance for incorporating Ganggangsullae into the elementary general music classroom.

Sign in / Sign up

Export Citation Format

Share Document