scholarly journals Policy and the K–12 Music Teacher: A Literature Review

2018 ◽  
Vol 37 (1) ◽  
pp. 20-29
Author(s):  
Ronald P. Kos
Keyword(s):  
Music Education ◽  
Classroom Practice ◽  
Policy Research ◽  
Policy Implications ◽  
Music Teacher ◽  
Professional Lives ◽  
Music Teaching ◽  
Policy Awareness ◽  
Education Profession ◽  
K 12

Music teaching lies at the intersection of policy, research, and practice. An awareness of policy context and how policies affect teachers is essential for those in the music education profession. In particular, such an understanding can allow teachers to better adapt to and implement policies so that they might maintain and grow their programs and feel more satisfied in their jobs. This review of literature investigates scholarly literature published in music education research journals with implications for teachers’ classroom practice and their professional lives. It includes studies of resources, organizations, and educational reform, teachers and teaching, institutions and actors, and access, in addition to descriptions of policy. Implications for teachers related to policy awareness, access for all students to a variety of musical activities, and music education advocacy are discussed.

Integrating popular music into urban schools: Assessing the effectiveness of a comprehensive music teacher development program

2021 ◽  
pp. 025576142098622
Author(s):  
Hal Abeles ◽  
Lindsay Weiss-Tornatore ◽  
Bryan Powell
Keyword(s):  
Professional Development ◽  
New York ◽  
Music Education ◽  
Popular Music ◽  
Teacher Development ◽  
Development Program ◽  
Music Teacher ◽  
School Year ◽  
Music Program ◽  
K 12

As popular music education programs become more common, it is essential to determine what kinds of professional development experiences that are designed to help teachers include popular music into their music education classrooms are effective—keeping in mind that the inclusion of popular music in K–12 classrooms requires a change not only in instrumentation and repertoire but also pedagogical approaches. This study examined the effects of a popular music professional development initiative on more than 600 New York City urban music teachers’ musicianship, their pedagogy, and their leadership skills throughout one school year. Results revealed increases in all three areas, most notably in teachers’ musicianship. The study also showed an increase in teachers’ positive perceptions about their music programs, specifically, their level of excitement about the state of their music program and that their music program was more effective at meeting their students’ needs than it had been previously.

scholarly journals Music Teacher Rankings of Selected Core Teaching Practices

2019 ◽  
Vol 29 (1) ◽  
pp. 86-99
Author(s):  
J. Si Millican ◽  
Sommer Helweh Forrester
Keyword(s):  
Music Education ◽  
Teaching Practices ◽  
Teacher Educators ◽  
Music Teachers ◽  
Music Teacher ◽  
Music Teaching ◽  
Pedagogical Content ◽  
Technical Vocabulary ◽  
History Of ◽  
Service Music

There is a decades-long history of music education researchers examining characteristics and skills associated with effective teaching and assessing how preservice music teachers develop those competencies. Building on studies of pedagogical content knowledge and the professional opinions of experienced music educators, researchers are now attempting to identity a body of core music teaching practices. We asked experienced in-service music teachers ( N = 898) to think about the skills beginning music teachers must possess to investigate how respondents rated and ranked selected core music teaching practices in terms of their relative importance. Developing appropriate relationships with students, modeling music concepts, and sequencing instruction were the top core teaching practices identified by the group. Results provide insights into knowing, naming, and framing a set of core teaching practices and offer a common technical vocabulary that music teacher educators might use as they design curricula and activities to develop these foundational skills.

Music Education in P-12 Schools to Learn From Each Other

2020 ◽  
pp. 176-196
Keyword(s):  
Social Interaction ◽  
Social Context ◽  
Music Education ◽  
Teaching And Learning ◽  
Music Teaching ◽  
Community Members ◽  
Music Learning ◽  
Technical Aspects ◽  
K 12

This chapter describes cases of music teaching and learning from Pre-K-12 schools. As a trait of book, instead of focusing on how-to instruction and technical aspects of music teaching, the author puts a special emphasis on music learning in a social context. Both music and music education consist of social interaction among learners, teachers, and community members. This process is especially unique to music because we always learn from each other and perceive music in a shared sense. The author wishes you also learn from these cases and implement the idea of your practice for students to learn from each other.

scholarly journals Music Teacher Dispositions: Self-Appraisals and Values of University Music Students

2018 ◽  
Vol 66 (1) ◽  
pp. 111-125 ◽  
Author(s):  
Robert H. Woody ◽  
Danni Gilbert ◽  
Lynda A. Laird
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Teacher ◽  
Teacher Dispositions ◽  
Music Students ◽  
Music Majors ◽  
Education Majors ◽  
Music Teaching ◽  
Education Students ◽  
Music Education Majors

For music teachers to be most effective, they must possess the dispositions that best facilitate their students’ learning. In this article, we present and discuss the findings of a study in which we sought to explore music majors’ self-appraisals in and the extent to which they value the disposition areas of reflectivity, empathic caring, musical comprehensiveness, and musical learnability orientation. Evidence from a survey of 110 music majors suggested that music education students possess and value the dispositions of reflectivity, musical comprehensiveness, and musical learnability orientation more highly after they have matured through their college careers. Additionally, based on their responses to music teaching scenarios, it appears that senior music education majors possess greater empathic caring than do their freshman counterparts.

Descriptive Profile and Survey of Alternatively Certified Texas Music Educators

2017 ◽  
Vol 27 (3) ◽  
pp. 24-37 ◽  
Author(s):  
Christopher K. Dye
Keyword(s):  
Public Schools ◽  
School Districts ◽  
Music Education ◽  
Music Educators ◽  
The State ◽  
Alternatively Certified ◽  
Music Teaching ◽  
Economically Disadvantaged Students ◽  
K 12 ◽  
Prior Experiences

The purpose of the study was to examine the features of Texas’s Alternative Route to Certification (ARC) programs in music education, the demographics and prior experiences of program completers, and the employment of ARC completers in K–12 public schools. Data were collected from the State Board of Educator Certification about demographics and employment information for all individuals who completed ARC programs in music education between 2002 and 2012 ( N = 1,200), and individuals from that population were surveyed concerning their experiences ( n = 214). Survey respondents completed programs that varied widely in duration, features, instructional modalities, and providing institutions. Music educator gender and ethnicity were significantly associated with the route used to pursue alternative certification. Relative to the distribution of music teaching positions across the state, ARC completers were disproportionately employed in large urban districts, charter school districts, and in districts with large proportions of economically disadvantaged students.

Building a Broad View of Technology in Music Teacher Education

2017 ◽  
pp. 122-128
Author(s):  
Heidi Partti
Keyword(s):  
Teacher Education ◽  
Music Education ◽  
Teaching And Learning ◽  
Holistic Approach ◽  
Music Teacher ◽  
Music Teaching ◽  
Music Teacher Education ◽  
Use Of Technology ◽  
Musical Practices ◽  
Collaborative Skills

In addition to innovative policy schemes, program visions, and curricular changes, the transformation of the school classroom necessitates also the development of teacher education. Inspired by the Core Perspective chapters in this section of the handbook, this chapter discusses issues related to the use of technology in supporting the cultivation of creative and collaborative skills in music teaching, particularly from the viewpoint of music teacher education. The chapter argues that there is a gap between the potential that technology could provide for music teaching and learning processes and the cultivation of this potential in schools. To bridge this gap, a holistic approach to technology and its use in music education is required. According to this approach, technology is viewed as a powerful way to facilitate more possibilities to participate in different musical practices and to use musical imagination.

Then and Now

2017 ◽  
pp. 80-86
Author(s):  
David A. Williams
Keyword(s):  
Higher Education ◽  
Music Education ◽  
Music Teachers ◽  
New Music ◽  
Music Programs ◽  
School Music ◽  
Education Profession ◽  
K 12 ◽  
Musical Styles

Fear of change is deeply embedded in the music education profession. It is a fear of the unknown—a fear of losing control over that with which music teachers are comfortable and confident. As a whole the music education profession resists the use of new music technologies. We are a profession that resists change, and this resistance has hurt us. This resistance is fast making us irrelevant in a musical world that is ever changing. Students currently in K–12, as well as in higher education, have grown up with new music technologies and related musical styles that are quite different from what they encounter in schools. The vast majority of these students see no place for themselves in school music programs. We are missing out on exciting opportunities that would be made possible by embracing new music technologies, especially when used in conjunction with corresponding pedagogies.

A Critical Examination of Preservice Music Teachers’ Writing on the edTPA Portfolio

2021 ◽  
Vol 31 (1) ◽  
pp. 69-82
Author(s):  
Cynthia L. Wagoner ◽  
Jay Juchniewicz
Keyword(s):  
Music Education ◽  
Performing Arts ◽  
Music Teacher ◽  
Average Score ◽  
Critical Examination ◽  
Teacher Education Programs ◽  
Word Use ◽  
Vocabulary Word ◽  
Individual Task ◽  
K 12

The purpose of this study was to examine the relationship between participants’ edTPA writing and edTPA portfolio scores. Specific questions included (a) Is there a relationship between overall word count and total score on the edTPA? (b) Are individual task commentary word counts associated with specific task scores and total edTPA scores? and (c) Is there a relationship between edTPA-specific vocabulary and total score on the edTPA? Written artifacts from 67 music education students who completed the K–12 Performing Arts edTPA Portfolio were collected over a 4-year period. Correlations between word counts and task and total scores were positive and of modest to moderate strength, as was the correlation between edTPA vocabulary word use and total scores. These findings are interpreted in relation to a national K–12 Performing Arts edTPA portfolio average score of 45 and existing edTPA policies affecting music teacher education 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.

An Educational Model for Music Therapy: The Case for a Continuum

2000 ◽  
Vol 14 (1) ◽  
pp. 41-46 ◽  
Author(s):  
James Robertson
Keyword(s):  
Music Education ◽  
Music Therapy ◽  
Therapeutic Potential ◽  
Music Teacher ◽  
Music Teaching ◽  
Alternative Route ◽  
Special Educational Needs ◽  
Educational Model ◽  
Close Proximity ◽  
Educational Climate

This paper proposes that an educational dimension to music therapy in both training and practice should be considered. The rationale of recent and forthcoming curricular developments in music teaching would seem to imply that the perceived boundaries between music education and music therapy are becoming less distinct. It is thus likely that the two professions begin to be curious, at least, about such close proximity. Yet the therapeutic potential of music is not exclusive to the profession after which it is named. Furthermore, it would appear that the responsibilities of the music teacher in the present educational climate require a more inclusive (and therapeutic) approach as pupils with special needs, increasingly, are integrated into the mainstream sector. It is probable, therefore, that the teacher, rather than the therapist, will be inclined to meet these needs. While the boundaries between the professions necessarily prevail, a re-alignment (by means of a continuum) might be appropriate. This paper represents the personal views of the author as to how such an adjustment could be made and certain parallels are drawn with the profession of art therapy. The outline of a case is then presented for the consideration of educational music therapy. This would enable teachers of music to follow a modular programme of study which, while confined to the special educational needs sector, could provide an alternative route to a music therapy qualification.

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