Being the Change: Music Teachers’ Self-Reported Changes in Mindset and Practice

2020 ◽  
Vol 39 (1) ◽  
pp. 17-26
Author(s):  
Karen Salvador ◽  
Allison Paetz ◽  
Abby Lewin-Zeigler
Keyword(s):  
Qualitative Analysis ◽  
Teaching Practices ◽  
Classroom Practices ◽  
Music Teachers ◽  
Teaching Experience ◽  
Music Educators ◽  
General Music ◽  
Practicing Teachers ◽  
Years Of Teaching Experience ◽  
Inclusive Instruction

Music educators sometimes enter the workforce un(der)prepared to design and implement inclusive instruction. The purpose of this descriptive interview study was to explore practicing teachers’ self-reported changes in mindset and practice as they worked to become more inclusive. Participants ( N = 20) were music educators with between 1 and 17 years of teaching experience. All participants taught some combination of preK–12 students in general music, choir, band, orchestra, jazz, and other music classes in 10 states. We present qualitative analysis from two sets of interviews concerning self-reported changes in mindsets and teaching practices. We conclude with implications of this study for practicing teachers who wish to enact more equitable and just classroom practices.

General Music Teachers’ Backgrounds and Multicultural Repertoire Selection

2017 ◽  
Vol 36 (2) ◽  
pp. 38-44
Author(s):  
Soojin Lee
Keyword(s):  
Music Teachers ◽  
Teaching Experience ◽  
General Music ◽  
Music Training ◽  
Global Perspectives ◽  
Repertoire Selection ◽  
Years Of Teaching Experience ◽  
Multicultural Music ◽  
Different Cultures ◽  
Diverse Cultures

The purpose of this qualitative study was to examine how teachers’ backgrounds could contribute to their decisions to include music from diverse cultures. Analysis of interviews with three general music teachers indicated that their music training and experiences, ethnic backgrounds, and years of teaching experience may have influenced their familiarity with multicultural music. That familiarity, in turn, may have affected their multicultural repertoire selection. In addition, the findings revealed that participants included multicultural music in spite of their relatively homogeneous student populations, because they recognized the need to provide their students with global perspectives. However, the teachers primarily focused on teaching Western music concepts, employing music from different cultures mainly as a way to offer variety in their repertoire.

Characteristics of Early Childhood and Elementary General Music Methods Coursework for Preservice Music Teachers

2021 ◽  
pp. 105708372110245
Author(s):  
Karen Salvador ◽  
Mara E. Culp
Keyword(s):  
Early Childhood ◽  
Teacher Candidates ◽  
Music Teachers ◽  
Music Educators ◽  
Music Teacher ◽  
Teacher Education Programs ◽  
General Music ◽  
Music Teacher Education ◽  
Music Methods ◽  
Elementary General Music

Although many music teacher candidates begin university studies planning to teach secondary ensembles, most will ultimately be certified to teach younger children and may be called to do so. The purpose of this study was to examine how music teacher education programs prepare preservice music educators to teach music to children from birth through elementary school through coursework. We emailed survey invitations to representatives from 512 institutions accredited by the National Association of Schools of Music to prepare music educators. We received 134 usable responses (response rate = 26%). Nearly all respondents offered elementary general music methods (EGMM), and over three quarters required EGMM for all students in initial licensure programs. Only about one in ten responding institutions offered early childhood music methods (ECMM). We describe findings on EGMM and ECMM course structures, content, and materials as well as the employment status, degree background, and other qualifications of the person who typically taught this coursework

Teaching the Korean Folk Song (Arirang) Through Performing, Creating, and Responding

2017 ◽  
Vol 31 (1) ◽  
pp. 16-25 ◽  
Author(s):  
Hyesoo Yoo ◽  
Sangmi Kang
Keyword(s):  
Music Teachers ◽  
Music Educators ◽  
Folk Songs ◽  
Folk Song ◽  
Upper Elementary ◽  
Depth Information ◽  
General Music ◽  
Comprehensive Musicianship ◽  
Music Standards ◽  
Music Classrooms

This article introduces a pedagogical approach to teaching one of the renowned Korean folk songs ( Arirang) based on the comprehensive musicianship approach and the 2014 Music Standards (competencies in performing, creating, and responding to music). The authors provide in-depth information for music educators to help their students achieve learning outcomes for the skill, knowledge, and affect domains of the Korean folk song ( Arirang). Furthermore, the authors offer music lessons for Arirang in a variety of ways that are appropriate for upper elementary and secondary general music classrooms, including performing, creating, and responding to the music. An educational website that includes exemplary lesson plans, videos, and worksheets is also provided to help music teachers obtain content and pedagogical knowledge of Arirang.

Integrating Social-Emotional Learning Into Our “New Normal” Teaching Elementary General Music

2020 ◽  
pp. 104837132096137
Author(s):  
Taryn Raschdorf ◽  
Brittany Nixon May ◽  
Amie Searcy
Keyword(s):  
Music Teachers ◽  
Social Emotional Learning ◽  
Music Educators ◽  
Emotional Learning ◽  
General Music ◽  
Music Curriculum ◽  
Social Emotional ◽  
Building Relationships ◽  
Music Classroom ◽  
Elementary General Music

As social-emotional learning (SEL) initiatives are being adopted by many states and school districts, many music teachers have been actively and successfully integrating SEL into their elementary general music curriculum. Whether teaching in person or remotely music educators can create an environment conducive to SEL by practicing mindfulness, building relationships with and between students, encouraging family music engagement, and engaging in inclusive music activities. In this column, you will find resources and ideas about SEL, discover how it looks and functions in the music classroom (virtual or not), and hear from music educators who currently incorporate SEL in their teaching.

At the intersection of belief and practice: A mixed-methods study of elementary general music educator praxis

2021 ◽  
pp. 030573562110506
Author(s):  
Karen Salvador ◽  
Christina Svec ◽  
Jessica Glaser ◽  
Amy Sierzega ◽  
Alice Broadway
Keyword(s):  
Mixed Methods ◽  
Teaching Practices ◽  
Teaching And Learning ◽  
Linear Models ◽  
Descriptive Analysis ◽  
Music Educators ◽  
General Music ◽  
Music Teaching ◽  
Time Sampling ◽  
Elementary General Music

Recent research describing the practices of specialist elementary general music teachers and students is limited, and few research studies specifically examine how practicing music educators think about their music teaching practices. In this mixed-methods case study, we bridged these areas of research by examining music educators’ expressed beliefs about music teaching and learning in light of descriptive analysis and hierarchical linear models (HLM) of time sampling data of their teaching practices in elementary music classrooms. Participants ( N = 7) shared beliefs that everyone is musical and that music educators must therefore create an environment in which children develop their musicianship by singing, moving, and playing. Time sampling data indicated that teachers spent most of their time talking, while students spent most of their time sitting still and silent. Children in younger grades spent significantly more time in movement activities than those in older grades. HLM analyses provided predictive implications for teachers’ use of singing and movement. In this article, we present findings from qualitative analysis of planning artifacts, reflections, and interviews and from HLM of time sampling data, and discuss potential meanings for music teaching and music teacher education.

Eunice Boardman’s Generative Theory of Musical Learning and the Holt Music Textbooks

2017 ◽  
Vol 39 (2) ◽  
pp. 195-214
Author(s):  
Angela Munroe
Keyword(s):  
Music Teachers ◽  
Music Educators ◽  
Series Data ◽  
General Music ◽  
Secondary Sources ◽  
Generative Theory ◽  
Textbook Series

Many general music teachers use a variety of methods in their classrooms. The Generative Theory of Musical Learning can serve as a basis for a variety of general music methodologies. Developed by Eunice Boardman, the Generative Theory of Musical Learning influenced general music textbooks from 1966 to 1988, and it continues to influence music educators even today. The purpose of this study was to examine how the theory influenced the six editions of the Holt Music textbook series and to determine how its ideas have continued to be disseminated since the final edition of the Holt series. Data were collected through examination of a variety of primary and secondary sources, including the Holt Music series textbooks, published and unpublished writings from Eunice Boardman, and interviews with coauthors of the series. The study traces the development of the ideas behind the Generative Theory, its influence on the Holt Music series from 1966 to 1988, and the dissemination of the ideas following the conclusion of the series.

scholarly journals Teaching general music to young adolescents: Findings from a survey of music teacher perspectives

2018 ◽  
Vol 37 (1) ◽  
pp. 43-58 ◽  
Author(s):  
Stephanie Cronenberg
Keyword(s):  
Middle School ◽  
Music Education ◽  
Lived Experience ◽  
Teaching Experience ◽  
The United States ◽  
Music Educators ◽  
Middle Level ◽  
General Music ◽  
Young Adolescents ◽  
The Impact

Middle school general music is an often-overlooked aspect of music education in the United States. Yet at some point, many music educators face a teaching assignment including one or more sections of middle school general music. In this study, I investigated whether the principles that guide music educators in teaching middle school general music align with the middle level concept, articulated in This We Believe: Keys to Educating Young Adolescents. In addition, I sought to examine the impact of a teacher’s lived experience on these principles. This survey of middle school teachers revealed that while less than 10% of respondents were aware of This We Believe, over 60% regularly use principles aligned with the middle level concept to guide their teaching, with the major exception of diverse assessment techniques. Analysis also revealed that over 80% of respondents are greatly influenced by their teaching experience when making teaching decisions compared to less than a third by their preservice preparation. Implications for this study include the inclusion of the middle level concept in preservice education, the diversification of assessment approaches in middle school general music, and the potential influence of the school community on a teacher’s practice.

Engaged Listening Experiences: A World Music Sampler

2019 ◽  
Vol 33 (3) ◽  
pp. 14-20
Author(s):  
Hyesoo Yoo ◽  
Sangmi Kang ◽  
Camilo I. Leal ◽  
Abbey Chokera
Keyword(s):  
Culturally Diverse ◽  
Music Teachers ◽  
Music Educators ◽  
World Music ◽  
Upper Elementary ◽  
General Music ◽  
Listening Skills ◽  
Listening Strategies ◽  
Music Classrooms ◽  
The U.S

As the U.S. population has become significantly more culturally diverse, many music educators have acknowledged the necessity to implement culturally diverse musics in music curricula. One of the challenges in teaching culturally diverse musics is designing a balance between performing-based activities and other activities such as listening, improvising, and composing activities. Despite the importance of developing students’ listening skills, listening lessons are still relatively deficient within the context of world musics. Therefore, we provide general music teachers with engaged listening strategies for implementing world music lessons in music classrooms. The lessons provided in this article are appropriate for upper elementary and secondary general music classrooms.

scholarly journals EVALUASI MATA KULIAH PIANO UNTUK MENGHASILKAN GURU MUSIK DI SEKOLAH

2013 ◽  
Vol 16 (2) ◽  
pp. 457-473
Author(s):  
Diah Latifah
Keyword(s):  
Music Teachers ◽  
Research Result ◽  
Curriculum Evaluation ◽  
Course Evaluation ◽  
Music Educators ◽  
Music Instruction ◽  
General Music ◽  
Social Inquiry ◽  
The Subject

Studi ini bertujuan untuk mengevaluasi mata kuliah instrumen pilihan wajib piano dan relevansinya terhadap tujuan kurikulum Jurusan Pendi-dikan Seni Musik Universitas Pendidikan Indonesia yang berkomitmen untuk menghasilkan pendidik musik profesional. Untuk memenuhi tuntut-an ini, metode penelitian yang digunakan adalah studi kasus sosial inkuiri. Instrumen penelitian yang digunakan adalah pedoman observasi, pedoman wawancara, lembar pertanyaan lanjutan hasil informasi, dan kajian doku-men serta dokumentasi. Hasil Penelitian menyatakan bahwa partisipan ma-ta kuliah ini belum mampu untuk mengggunakan piano sebagai pengantar pembelajaran musik umum. Informasi ini ditindaklanjuti dengan rekomen-dasi, penyempurnaan silabus dan implementasi pembelajaran mata kuliah instrumen pilihan wajib piano, seyogyanya dilengkapi dengan subjek peng-gunaan piano sebagai pengantar pembelajaran musik di sekolah.Kata kunci: ketidaksesuaian kurikulum, evaluasi, rekomendasi______________________________________________________________ COURSE EVALUATION IN PIANO SUBJECT TO PRODUCE MUSIC TEACHERS IN SCHOOLS Abstract This study was aimed at evaluating “piano as compulsary course” and its relevancy toward the objectives of the curriculum of music edu-cation department of UPI that stated a commitment to provide proffesio-nals music educators. To meet this demand,  the  research methode used is Case Study In Social Inquiry. The research instruments are observation manual, interview manual, information question, and documentation. The research result shows that participants of this course have not shown capability of using piano as introduction to general music instruction. This information is followed up by the recommendations, syllabus improve-ments, and instruction implementation on the subject. It is recommended that ”piano as compulsary course” is equiped with subject of piano usage as introduction of music instruction at schools.Keywords: inappropiate curriculum, evaluation, recommendation

Sign in / Sign up

Export Citation Format

Share Document