Encouraging Students to Consider Music Education as a Future Profession

2016 ◽  
Vol 26 (2) ◽  
pp. 12-24 ◽  
Author(s):  
Ann M. Porter ◽  
Phillip D. Payne ◽  
Frederick W. Burrack ◽  
William E. Fredrickson
Keyword(s):  
Professional Development ◽  
United States ◽  
Job Satisfaction ◽  
Music Education ◽  
Music Teachers ◽  
The United States ◽  
Music Educators ◽  
Teaching Profession ◽  
Music Teaching ◽  
Career Option

The purpose of this study was to examine the attitudes, communication, and opportunities provided by music teachers to encourage consideration of the music teaching profession. Survey participants ( N = 436) were music educators from the Southeast (235), Midwest (51), and Southwest (149) National Association for Music Education regions of the United States. Fifty-two percent of respondents reported encouraging students to explore the music teaching profession, one third reported uncertainty about their encouragement of a music education career, and 21% indicated active discouragement. Personal job satisfaction, student music abilities, and constraints/forces outside the profession were factors for respondents who discourage students from the profession. A majority reported providing opportunities to explore the profession as a viable career option and those experiences reflected the authentic practices of the teaching profession. Professional development opportunities for in-service teachers in the encouragement of students toward music teaching should be strongly considered.

On the quality of professional development in the United States: Examining music educators’ experiences, sentiments, and emotions

2021 ◽  
pp. 025576142110191
Author(s):  
Brian C Wesolowski ◽  
Michael A Alsop ◽  
Myriam I Athanas ◽  
Levi H Dean
Keyword(s):  
Professional Development ◽  
United States ◽  
Music Education ◽  
Rating Scale ◽  
Assessment Tool ◽  
The United States ◽  
Music Educators ◽  
High Quality ◽  
Participation Bias ◽  
Service Music

The purpose of this study was to develop a valid and reliable assessment tool to measure music educators’ participation in and perceptions of their high-quality professional development (PD) experiences. A sample of 450 in-service music educators across the United States completed a 78-item rating scale embedded within 10 domains reflecting high-quality PD criteria: (a) content, (b) evidence/research, (c) coherence, (d) relevance, (e) active learning, (f) application, (g) collaboration, (h) reflection, (i) feedback, and (j) duration. Participants also answered the open-ended question, “What are some adjectives you would use to describe your overall professional development experiences?” Data were analyzed using Rasch measurement analyses and sentiment analyses. Results indicated an overall acceptable data-to-model fit, with the content domain reflecting most participation and the duration domain reflecting least participation. Bias analyses suggested that music educators received systematically different quality PD experiences based upon their teaching area and/or grade-level emphases. Participants had an overall positive sentiment of their PD experiences, which positively correlates with the level of quality PD they experienced ( r = 0.42, p < .05). The most frequent emotions of the participants were trust and joy. Implications for the development and programming of PD in the field of music education are discussed.

Professional Development for the Experienced Music Educator: A Review of Recent Literature

2018 ◽  
Vol 37 (3) ◽  
pp. 12-19
Author(s):  
Karen Koner ◽  
John Eros
Keyword(s):  
Professional Development ◽  
Music Education ◽  
Music Teachers ◽  
Recent Literature ◽  
Music Educators ◽  
Initial Examination ◽  
Professional Development Needs ◽  
Emerging Themes ◽  
Teachers Professional Development ◽  
K 12

There is a rich body of literature on professional development in music education, including research that has examined the professional development needs of experienced music teachers specifically. In fact, music teachers’ professional development needs may be affected by their degree of experience in the profession. The purpose of this literature review is to examine scholarship during the period 2007 to 2017 about the professional development needs of experienced K–12 music educators. Initial examination of literature in this area shows two emerging themes, including changing needs throughout the career and informal interactions among music educators, being highly effective.

Measuring pre-service music teachers’ creative identities: a cross-cultural comparison of the United States and Singapore

2019 ◽  
Vol 36 (02) ◽  
pp. 197-210
Author(s):  
Clint Randles ◽  
Leonard Tan
Keyword(s):  
United States ◽  
Music Education ◽  
Popular Music ◽  
Music Teachers ◽  
Music Performance ◽  
The United States ◽  
Music Listening ◽  
Music Making ◽  
Creative Identity ◽  
Service Music

AbstractThe purpose of this study was to examine and compare the creative musical identities of pre-service music education students in the United States and Singapore. The Creative Identity in Music (CIM) measure was utilized with both US and Singapore pre-service music teacher populations (n = 274). Items of the CIM relate to music-making activities often associated with creativity in music education in the literature, including composition, improvisation and popular music performance. Results suggest, similar to findings of previous research, that while both populations are similar in their degree of creative music-making self-efficacy and are similarly willing to allow for creativity in the classroom, Singaporean pre-service music teachers value the areas of creative identity and the use of popular music listening/performing within the learning environment to a significantly greater extent (p &lt; 0.0001) than their US counterparts.

The Kodály Concept in the United States: Early American Adaptations to Recent Evolutions

2018 ◽  
Vol 41 (1) ◽  
pp. 55-72
Author(s):  
Megan M. Sheridan
Keyword(s):  
United States ◽  
Music Education ◽  
The United States ◽  
Music Educators ◽  
Early Years ◽  
Philosophy Of Music ◽  
Zoltan Kodaly ◽  
Early American ◽  
The 1960S ◽  
Kodaly Concept

Zoltán Kodály, a Hungarian composer, ethnomusicologist, and music educator, is widely known for his philosophical and pedagogical contributions to music education. The purpose of this article was to trace the development of the Kodály movement in the United States from its implementation in the 1960s to present day. Questions that guided the research were (1) Who was Zoltán Kodály and what was his philosophy of music education? (2) Who were some of the American music educators who initially implemented the Kodály concept in the United States and what role did they play in the spread of the concept? and (3) How has the Kodály concept evolved in the United States? Following an overview of Kodály and his philosophy, the contributions of Mary Helen Richards, Denise Bacon, Lois Choksy, and Sr. Lorna Zemke during the early years of the Kodály movement are discussed. The evolution of the Kodály concept is discussed in relation to the work of Lois Choksy, Ann Eisen and Lamar Robertson, John Feierabend, Susan Brumfield, and Mícheál Houlahan and Philip Tacka. A conclusion includes suggestions for the advancement of the Kodály concept, including the need for research on the methods of the approach.

Music Educators’ Perceived Effectiveness of Inclusion

2014 ◽  
Vol 62 (2) ◽  
pp. 148-160 ◽  
Author(s):  
Kimberly VanWeelden ◽  
Jennifer Whipple
Keyword(s):  
United States ◽  
Music Teachers ◽  
The United States ◽  
Music Educators ◽  
The Other ◽  
Music Achievement ◽  
Perceived Effectiveness ◽  
Students With Special Needs ◽  
Teachers Perceptions ◽  
Research Findings

The purpose of this research project was to examine whether music teachers’ perceptions of effectiveness of inclusion, curriculum adaptations/modifications, or student achievement had altered from previous research findings 20 years before. A survey based on that used by Gfeller, Darrow, and Hedden was sent to music educators through the United States and returned by 1,194, with all 50 states represented. Results indicate more positive responses as compared with 20 years ago, with participants generally reporting that the students were successfully integrated, their music needs were being met, and they did not hinder the progress of students without disabilities. Additionally, teachers’ responses indicated they were comfortable adapting and/or modifying their regular curriculum to meet the needs of students with special needs and that these students were graded on the same standards of music achievement as the other students in their classes.

Public School Education within a Democracy

2011 ◽  
Author(s):  
Alice M. Hammel ◽  
Ryan M. Hourigan
Keyword(s):  
United States ◽  
Public School ◽  
Music Education ◽  
Special Needs ◽  
Music Teachers ◽  
The United States ◽  
Label Free ◽  
Students With Special Needs ◽  
School Year ◽  
Public School Education

The beginning of the school year is a time when situations similar to Mrs. Johnson’s first day occur. It is when these first lessons go awry that some music teachers first begin to think of their individual students, rather than the collective group. Who is the girl who moves slower than the rest and uses a walker? Who are the students in the small group who come late each day with a teacher to assist them? Who is the boy who bounds down the hall and begins to take down one of the brand new bulletin boards that have just been finished? The answer to the questions above is that they are all our students. They all have a place in our schools and they all deserve to have an education that includes music. As music teachers, we have both the right and responsibility to educate all the students in our schools. We are charged with studying each student who enters our classroom and with providing all students the music education they deserve. To do this, however, we must begin to plan for the inclusive education of all students before that first group heads down our hall on the first day of school. Unfortunately, until recently this was not the educational philosophy of public schools within the United States. This chapter will introduce the process we as a nation have experienced as we have come to the understanding of what an education for all students in the United States entails, including: challenges within families; the real-world realities of inclusion in practice; and a label-free approach to teaching music in the public school setting. This book is designed to facilitate the planning, implementation, and assessment of music education for students with special needs. It is written from a paradigm that advocates thoughtful inclusion and honors the teaching and learning relationship between music teachers and their students. It is hoped that this text will present a philosophy and a set of guiding principles for teaching students with special needs in a helpful and pragmatic manner.

Music Instruction at Selected State Normal Schools during the Nineteenth Century

2019 ◽  
Vol 67 (4) ◽  
pp. 413-439
Author(s):  
Phillip M. Hash
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
Music Education ◽  
The United States ◽  
Teaching Profession ◽  
Music Instruction ◽  
School Students ◽  
Normal School ◽  
Normal Schools ◽  
K 12

The purpose of this study was to explore music instruction in selected normal schools of the United States during the nineteenth century. The sample consisted of all eighteen state normal schools organized before the end of the U.S. Civil War and provided insight into the earliest period of music at these institutions. Research questions focused on normal school music (a) faculty, (b) curricula, and (c) diploma/degree programs, as well as (d) influence on the teaching profession, normal school students, and society at large. Normal schools prepared future classroom teachers and eventually specialists to teach music to K–12 students throughout the United States. They also helped professionalize the role of music teacher, solidify music’s place in K–12 curricula, and improve the efficacy of instruction among America’s youth. The preparation normal schools provided contributed to the national culture and the ability of average citizens to experience music as both listeners and performers. Although teacher education has evolved a great deal since the nineteenth century, practices related to music instruction in state normals during this time might hold implications for solving current problems in music education and preparing generalists and specialists today.

Music Education in the Nordic Countries

1987 ◽  
Vol 4 (3) ◽  
pp. 251-252 ◽  
Author(s):  
John Paynter
Keyword(s):  
United States ◽  
Music Education ◽  
The United States ◽  
Music Educators ◽  
Nordic Countries ◽  
The Other ◽  
Other Hand ◽  
Enormous Amount ◽  
Academic Professions

Possibly because very few teachers in Britain are fluent readers of Scandinavian languages while, on the other hand, the majority in the academic professions in Norway, Denmark, Sweden, Finland and Iceland speak and read – not infrequently write – English, the flow of thinking about music education and its developments often appears to be one way.Yet although it may be true to say that, over the last twenty years or so, music educators in the Nordic countries have drawn quite a lot of inspiration from beyond their own borders (Finland and Sweden tending to look towards Hungary; Norway, Iceland and Denmark perhaps turning more often to Britain and the United States), it would be a serious error to imagine that they have no significant ideas of their own! Indeed, an enormous amount has been achieved in these countries from which the rest of us can usefully learn.

The state of guitar education in the United States

2019 ◽  
Vol 3 (2) ◽  
pp. 245-260 ◽  
Author(s):  
Robert Pethel
Keyword(s):  
United States ◽  
Music Education ◽  
Traditional Music ◽  
The United States ◽  
Music Educators ◽  
Substantial Body ◽  
Practical Advice ◽  
Service Training ◽  
K 12 ◽  
Guitar Class

Guitar education has emerged as a discipline in K-12 institutions alongside ‘traditional’ music education such as band, orchestra and chorus in recent decades. Despite the substantial body of literature containing practical advice on teaching guitar, research-supported scholarship is lacking. The purpose of this study was to provide an evidentiary-based understanding of the professional profiles of guitar educators. A large sample (n = 1269) of guitar educators participated in the Guitar Educator Questionnaire (GEQ). Findings from the GEQ suggest a low per cent (7.9%) of music educators who teach guitar class consider themselves to be ‘guitar specialists’. A substantial number of respondents (68.5%) indicated that they rarely or never participated in guitar-related professional development, and 76.1% of respondents reported that their pre-service training provided little or no preparation for a career in guitar education.

Recent and Continuing Initiatives and Practices in Special Education

2017 ◽  
Vol 104 (2) ◽  
pp. 32-37 ◽  
Author(s):  
Alice-Ann Darrow ◽  
Mary S. Adamek
Keyword(s):  
United States ◽  
Special Education ◽  
Music Education ◽  
Students With Disabilities ◽  
Individualized Education Program ◽  
The United States ◽  
Music Educators ◽  
Disabilities Education Act ◽  
Basic Understanding ◽  
Education Act

A number of initiatives in special education have occurred in the United States over the years, some mandated by amendments to the Individuals with Disabilities Education Act. Having a working knowledge of these initiatives allows music educators to have informed discussions with colleagues and parents and participate more fully in Individualized Education Program (IEP) meetings. Adopting special education practices that are appropriate to music education can also promote consistent and coordinated efforts on behalf of students with disabilities. This article includes summaries of current practices and initiatives in special education. For music educators who would like a basic understanding of their colleagues’ discipline, these summaries offer useful information that can facilitate the inclusion of students with disabilities.

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