scholarly journals A Mentoring Network for Novice and Experienced Music Teachers: Concept, Design, Outcomes, and Recommendations

2021 ◽  
pp. 105708372110540
Author(s):  
Kristina R. Weimer ◽  
Daniel J. Albert
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Teaching Strategy ◽  
Music Educators ◽  
Online Mentoring ◽  
Concept Design ◽  
Mutual Support ◽  
Positive Assessment ◽  
Teachers Perspectives

Two university music education faculty aimed to expand mentoring beyond a one-to-one relationship to a more collaborative approach by creating a year-long online mentoring network of experienced and novice music educators. The purpose of this article is to describe the network’s structure and content, and discuss outcomes and recommendations based on participating teachers’ perspectives and experiences. Network materials promoted discussion and reflection on various music teaching and learning topics; the sharing of strategies, ideas, and resources; and mutual support and encouragement. Participants discussed topics with direct application for their classes and shared rewarding teaching moments, student successes, positive assessment outcomes, and struggles with fatigue and lack of student engagement. They stated the network provided a supportive space that facilitated connection and reflection, empathetic feedback, and teaching strategy and resource suggestions. Recommendations included more active opportunities to engage with and build relationships with each other, synchronous activities via videoconferencing platforms, and more facilitator participation.

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.

Creating Virtual Ensembles: Common Approaches from Research and Practice

2021 ◽  
Vol 107 (3) ◽  
pp. 38-46
Author(s):  
Christopher Cayari
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Educators ◽  
The Internet ◽  
Research And Practice ◽  
Music Production ◽  
Music Making ◽  
Teachers And Students ◽  
Online Music ◽  
Education Courses

A virtual ensemble is a digital musical product that uses multiple recordings edited together to form a musical ensemble. Creating virtual ensembles can be a way for music educators to engage students through online music-making. This article presents eight steps for creating virtual ensembles in music education courses and classrooms. The steps are (1) identifying objectives and desired outcomes, (2) selecting repertoire, (3) developing learning resources, (4) creating an anchor for synchronizing, (5) choosing a recording method, (6) setting up a collection platform, (7) editing in postproduction, and (8) distributing the product. As online music production becomes more prevalent, projects like virtual ensembles can provide creative and exciting experiences for music teachers and students, whether produced in the classroom or through remote means on the Internet.

A Longitudinal Perspective of Early Career Music Teachers: Contexts, Interactions, and Possible Selves

2017 ◽  
Vol 27 (2) ◽  
pp. 52-66 ◽  
Author(s):  
William Dabback
Keyword(s):  
Student Teaching ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Possible Selves ◽  
Music Educators ◽  
Early Career ◽  
Personal Experiences ◽  
Multiple Case ◽  
Possible Selves Theory

The purpose of this multiple case study was to follow the development of three music educators during their student teaching semesters and into the first years of their careers. Possible selves theory provided a framework for exploring the links between cognition, expectations, and motivation. Interviewees negotiated their social and physical contexts, which in turn shaped their self-images and conceptions of teaching and learning. Identities were constructed through personal experiences and formal study with significant others, including influential teachers, cooperating teachers, and colleagues. In these respects, classrooms served as the laboratories in which teachers learned how to build crucial relationships with their students, tested and reshaped emerging identities, and based actions and evaluation on their possible selves.

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.

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.

A toe-tapping good time: Informal musicking through critical pedagogy in inclusive settings

2019 ◽  
Vol 3 (3) ◽  
pp. 497-511 ◽  
Author(s):  
Verne Hélène Lorway
Keyword(s):  
Critical Pedagogy ◽  
Music Education ◽  
Learning Process ◽  
Teaching And Learning ◽  
Music Educators ◽  
Western Society ◽  
Good Time ◽  
Student Voices ◽  
Inclusive Settings ◽  
Music Class

This article draws upon the experiences of the author as a music educator creating inclusive music programmes over the past 24 years. She describes how informal learning gleaned from the approaches of popular musicians, combined with musicking as a means of building powerful relationships and critical pedagogy to infuse student voices into the teaching and learning process is a potent recipe for building an inclusive music class. Such a method needs to be guided by music educators throughout the learning process. Examining inclusive music education leads to further questions regarding what constitutes musicality and non-musicality in western society. When persons of all ages are involved in musicking in school and community contexts, music educators need to be involved in the challenges surrounding notions of musicality and non-musicality to steer processes that can create spaces for learning and growth.

Behind Different Walls

2015 ◽  
pp. 553-566
Author(s):  
Mary L. Cohen ◽  
Stuart Paul Duncan
Keyword(s):  
Music Education ◽  
Learning Communities ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Public Awareness ◽  
Social Needs ◽  
Transformative Justice ◽  
Choral Singing ◽  
The Past ◽  
The Social

Over the past few years, restorative justice and transformative justice have taken on greater research importance in the scholarly community. These two forms of social justice offer ways of dealing with harms that result from conflict. The claim of this chapter is that these two types of justice can be used to structure and shape pedagogy in music education. Research suggests that choral singing within a prison context and the particular pedagogies employed therein can be shaped positively through restorative and transformative justice. Prison choir performances humanize prisoners and bring greater public awareness to their lives. If one accepts the premise that the use of restorative and transformative justice in musical teaching and learning enacts forms of healing, then their application has great potential to create encouraging learning environments and provide tools for music teachers to support the social needs of their learning communities.

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