An Analysis of State Music Education Certification and Licensure Practices in the United States

2017 ◽  
Vol 27 (1) ◽  
pp. 65-88 ◽  
Author(s):  
Brittany Nixon May ◽  
Karen Willie ◽  
Cherilyn Worthen ◽  
Allyssa Pehrson
Keyword(s):  
United States ◽  
Music Education ◽  
Teacher Educator ◽  
Relevant Information ◽  
The United States ◽  
Music Educators ◽  
Performance Assessments ◽  
Music Teacher ◽  
Grade Levels ◽  
Music Teacher Preparation

Teacher certification and licensure practices for music educators vary by state. Enhancing music teacher educator knowledge of state music education certification and licensure practices can inform music teacher preparation and improve future music teacher quality. The purpose of this study was to compile relevant information for music educators about the certification practices of each of the United States and the District of Columbia as of January 2016, and to examine the commonalities and differences among the states’ policies. Results revealed a movement toward comprehensive certification for all grade levels and music subject areas. Researchers noted heightened accountability through increased testing requirements and the inclusion of teacher performance assessments.

Diversifying Musical Experiences in Schools and Music Teacher Preparation Programs

2019 ◽  
pp. 891-901
Author(s):  
Robert H. Woody ◽  
Mark C. Adams
Keyword(s):  
United States ◽  
Music Education ◽  
Popular Music ◽  
The United States ◽  
Music Teacher ◽  
Education Programs ◽  
Preparation Programs ◽  
Music Making ◽  
Large Ensembles ◽  
Classical Traditions

This chapter discusses the innate differences between vernacular music-making cultures and those oriented in Western classical traditions, and suggests students in traditional school music education programs in the United States are not typically afforded opportunities to learn skills used in vernacular and popular music-making cultures. The chapter emphasizes a need to diversify music-making experiences in schools and describes how vernacular musicianship may benefit students’ musical development. It suggests that, in order for substantive change to occur in music education in the United States, teachers will need to advance beyond simply considering how to integrate popular music into their traditional large ensembles—and how preservice music teacher education programs may be the key to help better prepare teachers to be more versatile and philosophically open to teaching a more musically diverse experience in their future classrooms.

The Oxford Handbook of Preservice Music Teacher Education in the United States

2019 ◽  
Keyword(s):  
United States ◽  
Teacher Education ◽  
Music Education ◽  
State Level ◽  
The United States ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Education Faculty ◽  
Song Writing ◽  
Faculty And Administrators

The Oxford Handbook of Preservice Music Teacher Education in the United States aims to work from within the profession of music teacher education to push the boundaries of P-12 music education. In this book, we will provide all of those working in music teacher education—music education faculty and administrators, music researchers, graduate students, department of education faculty and administrators, and state-level certification agencies—with research and promising practices for all areas of traditional preservice music teacher preparation. We define the areas of music teacher education as encompassing the more traditional structures, such as band, jazz band, marching band, orchestra, choir, musical theater, and elementary and secondary general music, as well as less common or newer areas: alternative string ensembles, guitar and song-writing, vernacular and popular music, early childhood music, and adult learners

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.

A Historical Overview of Music Teacher Education in the United States

2019 ◽  
pp. 43-66 ◽  
Author(s):  
Phillip M. Hash
Keyword(s):  
United States ◽  
Teacher Education ◽  
World War Ii ◽  
Music Education ◽  
19Th Century ◽  
The United States ◽  
Colleges And Universities ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Public And Private

This chapter examines the history of music teacher education in the United States from its humble beginnings in the 19th century through the varied preservice and advanced programs offered today. The chapter describes the evolution of the field over the past 200 years and speculates on the future of the profession through a historical lens. Most music teachers of the 18th and early 19th centuries received little formal preparation in either music or pedagogy and earned most of their living in a trade. Around 1830, music teacher education began on an institutional basis in singing conventions, teacher institutes, and private academies. State normal schools and some conservatories extended this work in the mid-19th century by offering instruction in pedagogy and “public school music.” Colleges and universities followed suit around 1900 and, two decades later, began awarding undergraduate and graduate degrees in music education. These programs expanded a great deal through World War II and continued to develop in response to changing needs, values, and priorities of society. Today, initial preparation is highly accessible through public and private colleges and universities throughout the country. The same is true of graduate-level instruction, which will likely become more prevalent as institutions continue to develop fully online master’s and doctoral programs.

Popular music in preservice music education: Preparedness, confidence and implementation

2020 ◽  
Vol 4 (1) ◽  
pp. 41-60 ◽  
Author(s):  
Sandra Hamilton ◽  
Jennifer Vannatta-Hall
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Teacher Educators ◽  
Classical Music ◽  
The United States ◽  
Music Educators ◽  
Music Teacher ◽  
Students Attitudes ◽  
Training Programmes ◽  
K 12

This study examined popular music in preservice music teacher training programmes in the United States. The researchers explored types of courses and programmes offered in undergraduate music education programmes to prepare future music teachers to teach popular music. Quantitative data revealed trends in the inclusion of popular music within undergraduate music education programmes, determined music teacher educators’ perceptions of their students’ attitudes towards using popular music in the general music classroom, and examined the types of popular music pedagogy needed for preservice music educators. Qualitative data ascertained perceived confidence levels of graduates to utilize popular music. Results revealed that western classical music is the focus for the majority of music educators’ undergraduate degree programmes and that often music teacher preparation programmes ignore popular music study. Bridging the gap between western classical and popular music would help prepare teachers to include and value all types of music in K-12 music education.

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.

Choral Music Education

2019 ◽  
pp. 719-747
Author(s):  
Susan Wharton Conkling
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Cultural Influences ◽  
Music Educators ◽  
Music Teacher ◽  
Cultural Humility ◽  
Choral Music Education ◽  
Music Teacher Preparation ◽  
Choral Methods ◽  
Gradual Transformation

Preservice choral music teacher preparation benefits from reviews of literature, published over four decades that, taken together, document the gradual transformation of practice. These reviews of literature provide a place to begin the present chapter, followed by an update of that literature to determine where the field has remained stable and where boundaries have been challenged and expanded in the 21st century. Subsequently, a content analysis of major textbooks for choral methods courses is undertaken, revealing gaps between research and practice in these areas: (a) connecting vocal development to social development, (b) connecting teacher effectiveness to student progress, and (c) recognizing the multiple cultural influences on choral singers. The chapter concludes with a proposed framework for preparation of choral music educators, borrowed from the training of healthcare professionals, called cultural humility. Cultural humility is not intended to be learned in a classroom, but instead through ongoing clinical practice.

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.

Curriculum reform and policy considerations: A multiple case study of the inclusion of modern band into music teacher preparation programmes

2020 ◽  
Vol 4 (1) ◽  
pp. 21-40 ◽  
Author(s):  
Jocelyn Stevens Prendergast ◽  
Brittany Nixon May
Keyword(s):  
United States ◽  
Teacher Education ◽  
Music Education ◽  
Multiple Case Study ◽  
The United States ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Policy Issues ◽  
Multiple Case

Many music teacher education programmes in the United States are increasingly offering classes that fall within the scope of modern band. A number of policies impact music teacher education curricula in the United States. These include both hard policies, such as teacher certification and NASM accreditation requirements, as well as soft policies, such as institutional traditions. In this multiple case study, the researchers interviewed three music teacher educators from different universities to examine their individual experiences incorporating modern band into their music education curricula and identify any policy issues that arose as they proposed and instituted curricular changes. The themes identified with regard to implementing modern band into the music teacher education curriculum included time, support, curricular positioning, equity and access. Notably, the participants did not cite any specific policy issues as barriers to implementing modern band into music education coursework.

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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