Admission and Assessment of Music Degree Candidates

2019 ◽  
Vol 29 (2) ◽  
pp. 10-21
Author(s):  
Phillip Payne ◽  
Jeffrey Ward
Keyword(s):  
Music Education ◽  
Music Educators ◽  
Music Programs ◽  
Survey Study ◽  
Assessment Practices ◽  
Education Programs ◽  
Current State ◽  
Candidate Assessment ◽  
Assessment Measures ◽  
Music Education Programs

The purpose of this survey study was to examine current admissions processes and assessment practices for music programs of National Association of Schools of Music member institutions. Representatives from 95 institutions responded to a researcher-designed questionnaire. Music education programs were perceived as being comparable to performance programs on admissions standards. We describe the current state of candidate assessment practices from matriculation through degree conferral, consider a range of assessment measures including gateway or barrier instruments, and pose critical questions about the use of such assessments to determine whether music education candidates are appropriately qualified to become P–12 music educators.

Accrediting Agencies

2019 ◽  
pp. 187-203
Author(s):  
Carla E. Aguilar ◽  
Lauren Kapalka Richerme
Keyword(s):  
Music Education ◽  
Student Teaching ◽  
Field Experience ◽  
Music Educators ◽  
National Association ◽  
Education Programs ◽  
Educator Preparation ◽  
Schools Of Music ◽  
Music Education Programs

This chapter provides an overview of two agencies that accredit collegiate music education programs: the Council for the Accreditation of Educator Preparation (CAEP) and the National Association of Schools of Music (NASM). Examining points of overlap and divergence, it explains that CAEP relies on NASM for recommendations about music content and that the CAEP standards go into greater depth about student teaching and field experience requirements than the NASM Handbook. While music educators must adhere to certain hard policies demanded by these agencies, they have discretion regarding how they create and adjust soft policies in order to meet those ends. The chapter offers that music educators might use accreditation processes to reflect on their values and to spur innovations while resisting standardization across universities.

Could There Be Deleuzian Assessment in Music Education?

2019 ◽  
pp. 121-136
Author(s):  
Lauren Kapalka Richerme
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Educators ◽  
Assessment Practices ◽  
Continuous Assessment ◽  
Education Policies ◽  
Philosophical Inquiry ◽  
Music Making ◽  
Musical Practices ◽  
Contemporary Education

Authors of contemporary education and arts education policies tend to emphasize the adoption of formal, summative assessment practices. Poststructuralist philosopher Gilles Deleuze’s emphasis on ongoing differing and imaginative possibilities may at first glance appear incompatible with these overarching, codified assessments. While Deleuze criticizes the increasing use of ongoing assessments as a form of control, he posits a more nuanced explanation of measurement. This philosophical inquiry examines four measurement-related themes from Deleuze’s writings and explores how they might inform concepts and practices of assessment in various music teaching and learning contexts. The first theme suggests that each group of connective relations, what Deleuze terms a “plane of immanence,” demands its own forms of measurement. Second, Deleuze emphasizes varieties of measurement. Third, those with power, what Deleuze terms the “majority,” always set the standard for measurement. Fourth, Deleuze derides continuous assessment. His writings suggest that music educators might consider that assessments created for one musical practice or style should not transcend their own “plane of immanence,” that a variety of nonstandardized assessments is desirable, that the effect of measurement on “minoritarian” musical practices must be examined carefully, and that it is essential to ponder the potentials of unmeasured music making.

Music Teacher Education Program Practices: Preparing Teachers to Work With Diverse Learners

2021 ◽  
Vol 30 (2) ◽  
pp. 51-64
Author(s):  
Mara E. Culp ◽  
Karen Salvador
Keyword(s):  
Teacher Education ◽  
Preservice Teachers ◽  
Music Education ◽  
Teacher Educators ◽  
Teacher Education Program ◽  
Music Educators ◽  
Diverse Learners ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Education Programs

Music educators must meet the needs of students with diverse characteristics, including but not limited to cultural backgrounds, musical abilities and interests, and physical, behavioral, social, and cognitive functioning. Music education programs may not systematically prepare preservice teachers or potential music teacher educators for this reality. The purpose of this study was to examine how music teacher education programs prepare undergraduate and graduate students to structure inclusive and responsive experiences for diverse learners. We replicated and expanded Salvador’s study by including graduate student preparation, incorporating additional facets of human diversity, and contacting all institutions accredited by National Association of Schools of Music to prepare music educators. According to our respondents, integrated instruction focused on diverse learners was more commonly part of undergraduate coursework than graduate coursework. We used quantitative and qualitative analysis to describe course offerings and content integration.

scholarly journals Shaping Policy in Music Education: Music Teachers as Collaborative Change Agents

2020 ◽  
Vol 107 (1) ◽  
pp. 43-48
Author(s):  
Carlos R. Abril ◽  
Brent M. Gault
Keyword(s):  
Teacher Evaluation ◽  
Music Education ◽  
Student Learning ◽  
Music Teachers ◽  
Change Agents ◽  
Music Educators ◽  
Music Programs ◽  
Learning Standards

Music educators have experience working in education environments governed by shifting policies and mandates. How can music educators become agents empowered to shape, interpret, and design mechanisms for putting policy into practice? This article describes ways to understand policy and options for responding and contributing to its development and implementation. We examine how music educators have responded to two policy areas that have had a significant impact on music programs and teachers in recent years: (1) learning standards and (2) evaluation of student learning as a component of teacher evaluation. Examples in this article are meant to serve as a case in point for how music educators can become more responsive and actively engaged in policy matters.

scholarly journals A pile of drums: Putting theory into practice in culturally diverse music education

2019 ◽  
Vol 38 (1) ◽  
pp. 79-92
Author(s):  
Jennifer Walden
Keyword(s):  
Music Education ◽  
Culturally Diverse ◽  
Music Teachers ◽  
Music Educators ◽  
Concert Band ◽  
Music Programs ◽  
Global Awareness ◽  
Global Perspectives ◽  
Experience Teaching ◽  
Challenging Situation

This article provides music educators with practical ways to (a) build school community through culturally diverse music and informal performances and (b) inculcate global perspectives into music programs (including concert band and choir) through culturally diverse music. In an autoethnographic style, the article tells a story that spans 2 years in a challenging situation: an international school in a country wrought with political and economic instability. It examines community building and inculcating global awareness from four perspectives. The first perspective reviews engagement in cultural diversity in music education through the lens of recently completed PhD research. It looks what scholars are writing about culturally diverse music education and how these ideas subsequently look in practice. Second, 30 years of personal experience teaching culturally diverse music are tied in, including ideas for student engagement in music classes. The third perspective includes practical ideas: how culturally diverse music can be integrated to broaden a program and rejuvenate interest in music. Finally, the fourth reveals responses from students experiencing learning through culturally diverse music. Examples, transcriptions, and recommended resources are included, leaving music teachers with useful, sustainable approaches for culturally diverse inclusivity.

Philosophy of Assessment in Popular Music Education

2019 ◽  
pp. 345-363
Author(s):  
Bryan Powell ◽  
Gareth Dylan Smith
Keyword(s):  
Higher Education ◽  
Music Education ◽  
Popular Music ◽  
Cultural Practices ◽  
Music Programs ◽  
Assessment Practices ◽  
Inclusive Approach

With the expanding landscape of and proliferation of activity related to popular music education, philosophies underpinning and informing the assessment of students participating in popular music programs have come to the forefront of discussion. This chapter discusses the relationships among music education, higher education, and popular music as commoditized product(s), as well as the context for and a set of (sub)cultural practices, and looks through the lens(es) of authenticity before exploring canon and repertoire in popular music education. It highlights examples of assessment practices in particular popular music education contexts and the ideologies and philosophies that consciously or unconsciously undergird these. The chapter then presents a model of assessment derived from working in an innovative way—called “negotiated assessment” (Kleiman, 2009, p. 2)—with undergraduate arts students across disciplines. The chapter proposes this as one possible broad, inclusive approach to establishing a philosophy of assessment for popular music education.

Innovative Music Education Programs

1967 ◽  
Vol 53 (9) ◽  
pp. 50-52
Author(s):  
Ronald B. Thomas
Keyword(s):  
Music Education ◽  
Education Programs ◽  
Music Education Programs
Sign in / Sign up

Export Citation Format

Share Document