Research-to-Resource: Rethinking Method Course Instruction

2021 ◽  
pp. 875512332110540
Author(s):  
Alyssa N. Grey
Keyword(s):  
Music Education ◽  
Classroom Instruction ◽  
Music Educators ◽  
Peer Teaching ◽  
Skills Development ◽  
Teaching Skills ◽  
Teaching Experiences ◽  
Pedagogical Content ◽  
Video Recordings ◽  
Course Experiences

Music education method courses include pedagogical content essential for successful classroom instruction. Preservice music educators, however, have expressed concerns with their method course experiences. Researchers have found that modeling, peer teaching experiences, various forms of feedback, and video recordings can help improve undergraduates’ teaching skills development. This research-to-resource article provides example applications and recommendations for enhancing preservice music educators’ method course experiences.

Early childhood fieldwork for music education majors

2020 ◽  
Vol 15 (2) ◽  
pp. 199-215 ◽  
Author(s):  
Christa R. Kuebel
Keyword(s):  
Early Childhood ◽  
Music Education ◽  
Music Educators ◽  
Critical Examination ◽  
Education Majors ◽  
Musical Settings ◽  
Pedagogical Content ◽  
Early Childhood Music ◽  
Music Education Majors ◽  
Preparedness To Teach

Fieldwork experiences for undergraduate music education majors provide opportunities to gain pedagogical content knowledge as well as a deeper understanding of child development and musical behaviour. Early childhood music fieldwork experiences are vital to preservice music educators in order to gain insight into the specific needs of young learners and increase preparedness to teach in a variety of musical settings. Critical examination of the fieldwork opportunities provided to undergraduate music education majors in the early childhood music setting could benefit all preservice music educators. This article will describe one early childhood fieldwork placement and its impacts on the preparation of three undergraduate music education majors. Implications related to the importance of early childhood music education fieldwork experiences for preservice music educators are discussed.

Perceptions and Preparedness: Preservice Music Educators and Popular Music Teaching Skills

2020 ◽  
pp. 875512332095794
Author(s):  
Rachel Sorenson
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Informal Learning ◽  
Music Educators ◽  
Music Instruction ◽  
Comfort Level ◽  
Teaching Skills ◽  
Music Software ◽  
Learning Practices ◽  
Music Education Majors

The purpose of this study was to examine the perceptions of undergraduate music education majors regarding the skills needed to teach popular music classes, and their comfort level with those skills. Preservice music educators ( N = 81) completed a researcher-designed questionnaire describing their previous experiences with popular music, their perceptions of necessary teaching skills for popular music instruction, their comfort level with those skills, and their overall feelings of preparedness to teach popular music. Respondents rated the teaching skills of ear training, piano/keyboard, and informal learning practices as most important. In addition, respondents indicated that they were most comfortable with the teaching skills of singing, music theory, and informal learning practices. In general, respondents felt moderately prepared to teach popular music, but many believed they were lacking important knowledge and skills, including proficiency on various instruments, understanding how to integrate popular music, and music software proficiency. Implications for music educators are discussed.

Change in Music Teacher Education

2019 ◽  
pp. 66-84
Author(s):  
David J. Elliott ◽  
Marissa Silverman
Keyword(s):  
Teacher Education ◽  
Music Education ◽  
Teaching And Learning ◽  
Music Educators ◽  
Music Teacher ◽  
Music Teaching ◽  
Music Teacher Education ◽  
Philosophical Perspective ◽  
Pedagogical Content

This chapter offers a philosophical perspective on the central aims and values of music teacher education with a specific focus on the ethical dimensions of music teaching and learning. Drawing on the work of music education scholars, philosophers of mind, and philosophers of education, the chapter builds an argument for the view that music teacher education should be ethically guided and ethically applied in practice. Additionally, it suggests that “pedagogical content” should include dialogical discussions and activities related to the role of ethics in music teacher education because, among many values, the professional work of future music educators involves highly refined ethical sensibilities and opportunities for their own students to learn the nature of and strategies for acting rightly, appropriately, and responsibly in their future circumstances. Indeed, ethically guided music teacher education offers the profession rich opportunities to develop “ethically right” compassion, caring, and generosity toward others.

The Philosophy of Assessment in Music Education

2019 ◽  
pp. 32-55
Author(s):  
Roger Mantie
Keyword(s):  
Music Education ◽  
Authentic Assessment ◽  
Music Educators ◽  
Local Communities ◽  
Self Determination ◽  
Common Theme ◽  
Education Assessment ◽  
Consequential Validity ◽  
Mandated Testing

Philosophies of assessment are rare, perhaps even more so in music education. This chapter, arranged in five “movements” intended to reflect various ways of examining assessment issues, considers prominent themes emerging from the music education assessment literature, such as accountability, authentic assessment, consequential validity, legitimacy, mandated testing, metaphor, power-knowledge, and self-determination. The author asks questions such as, To what extent should philosophical commitments be voluntary versus compelled? To what extent should music educators be able to collectively determine educative values and to what extent should others (policymakers, local communities) have a say in what should constitute valuable learning in music? A common theme throughout the chapter is the urge for caution and reflection so that well-intended assessment efforts do not undermine cherished goals for music education.

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.

“Hay que Cantar con Ternura”: Baladas Románticas as a Site for Translingual Youth Convivencia

2021 ◽  
pp. 238133772110246
Author(s):  
Cati V. de los Ríos ◽  
Yared Portillo
Keyword(s):  
Music Education ◽  
Participant Observation ◽  
Cultural Knowledge ◽  
Mexican Origin ◽  
Bilingual Students ◽  
Video Recordings ◽  
Music Making ◽  
Schooling Experiences ◽  
K 12 ◽  
A Site

For many Mexican-origin bi/multilingual children, Mexican music education begins early in their home. Music is inextricably linked with the sociocultural context in which it is produced, consumed, and taught and the interrelationship between music, society, and culture. Using ethnographic methods, this article examines a small group of bilingual and emergent bilingual Mexican-origin students who regularly congregated in their English teacher’s classroom at lunchtime to recite and perform romance ballads, or what we refer to as baladas románticas, on a weekly basis. We use participant observation, plática-inspired interviews, focus groups, and video recordings to present ethnographic knowledge about how, for these young people, music was a way of being and a deliberate act to build community. Our findings describe the ways the bilingual students found themselves at the margins of their K–12 schooling experiences and, in turn, agentically fostered their own space for translingual expression and solace. This manifested in two primary ways: (a) how they collectively fostered their own form of convivencia (humanizing coexistence) anchored in their ancestral and cultural knowledge through their music-making and (b) how their music-making allowed them to release translingual and transmodal play and creativity that might have otherwise been suppressed at school. We end with a call for literacy researchers and educators to continue to recognize and honor students’ lived translingual experiences, identities, and musical gifts as resources for learning.

Becoming an Anti-Racist Music Educator: Resisting Whiteness in Music Education

2021 ◽  
Vol 107 (4) ◽  
pp. 14-20
Author(s):  
Juliet Hess
Keyword(s):  
Music Education ◽  
Music Educators ◽  
Music Educator ◽  
The Way

In this article, I propose some ways that music educators might become anti-racist. I explore the ways that Whiteness manifests in music education and subsequently examine actions we might take to resist this Whiteness. Ultimately, I suggest anti-racism as a way forward for music education. I delineate some of the ways that Whiteness operates in music education, not to discourage educators but rather to encourage us to notice the way Whiteness pervades our field.

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.

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