The state of guitar education in the United States

2019 ◽  
Vol 3 (2) ◽  
pp. 245-260 ◽  
Author(s):  
Robert Pethel
Keyword(s):  
United States ◽  
Music Education ◽  
Traditional Music ◽  
The United States ◽  
Music Educators ◽  
Substantial Body ◽  
Practical Advice ◽  
Service Training ◽  
K 12 ◽  
Guitar Class

Guitar education has emerged as a discipline in K-12 institutions alongside ‘traditional’ music education such as band, orchestra and chorus in recent decades. Despite the substantial body of literature containing practical advice on teaching guitar, research-supported scholarship is lacking. The purpose of this study was to provide an evidentiary-based understanding of the professional profiles of guitar educators. A large sample (n = 1269) of guitar educators participated in the Guitar Educator Questionnaire (GEQ). Findings from the GEQ suggest a low per cent (7.9%) of music educators who teach guitar class consider themselves to be ‘guitar specialists’. A substantial number of respondents (68.5%) indicated that they rarely or never participated in guitar-related professional development, and 76.1% of respondents reported that their pre-service training provided little or no preparation for a career in guitar education.

The Kodály Concept in the United States: Early American Adaptations to Recent Evolutions

2018 ◽  
Vol 41 (1) ◽  
pp. 55-72
Author(s):  
Megan M. Sheridan
Keyword(s):  
United States ◽  
Music Education ◽  
The United States ◽  
Music Educators ◽  
Early Years ◽  
Philosophy Of Music ◽  
Zoltan Kodaly ◽  
Early American ◽  
The 1960S ◽  
Kodaly Concept

Zoltán Kodály, a Hungarian composer, ethnomusicologist, and music educator, is widely known for his philosophical and pedagogical contributions to music education. The purpose of this article was to trace the development of the Kodály movement in the United States from its implementation in the 1960s to present day. Questions that guided the research were (1) Who was Zoltán Kodály and what was his philosophy of music education? (2) Who were some of the American music educators who initially implemented the Kodály concept in the United States and what role did they play in the spread of the concept? and (3) How has the Kodály concept evolved in the United States? Following an overview of Kodály and his philosophy, the contributions of Mary Helen Richards, Denise Bacon, Lois Choksy, and Sr. Lorna Zemke during the early years of the Kodály movement are discussed. The evolution of the Kodály concept is discussed in relation to the work of Lois Choksy, Ann Eisen and Lamar Robertson, John Feierabend, Susan Brumfield, and Mícheál Houlahan and Philip Tacka. A conclusion includes suggestions for the advancement of the Kodály concept, including the need for research on the methods of the approach.

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.

Music Instruction at Selected State Normal Schools during the Nineteenth Century

2019 ◽  
Vol 67 (4) ◽  
pp. 413-439
Author(s):  
Phillip M. Hash
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
Music Education ◽  
The United States ◽  
Teaching Profession ◽  
Music Instruction ◽  
School Students ◽  
Normal School ◽  
Normal Schools ◽  
K 12

The purpose of this study was to explore music instruction in selected normal schools of the United States during the nineteenth century. The sample consisted of all eighteen state normal schools organized before the end of the U.S. Civil War and provided insight into the earliest period of music at these institutions. Research questions focused on normal school music (a) faculty, (b) curricula, and (c) diploma/degree programs, as well as (d) influence on the teaching profession, normal school students, and society at large. Normal schools prepared future classroom teachers and eventually specialists to teach music to K–12 students throughout the United States. They also helped professionalize the role of music teacher, solidify music’s place in K–12 curricula, and improve the efficacy of instruction among America’s youth. The preparation normal schools provided contributed to the national culture and the ability of average citizens to experience music as both listeners and performers. Although teacher education has evolved a great deal since the nineteenth century, practices related to music instruction in state normals during this time might hold implications for solving current problems in music education and preparing generalists and specialists today.

Music Education in the Nordic Countries

1987 ◽  
Vol 4 (3) ◽  
pp. 251-252 ◽  
Author(s):  
John Paynter
Keyword(s):  
United States ◽  
Music Education ◽  
The United States ◽  
Music Educators ◽  
Nordic Countries ◽  
The Other ◽  
Other Hand ◽  
Enormous Amount ◽  
Academic Professions

Possibly because very few teachers in Britain are fluent readers of Scandinavian languages while, on the other hand, the majority in the academic professions in Norway, Denmark, Sweden, Finland and Iceland speak and read – not infrequently write – English, the flow of thinking about music education and its developments often appears to be one way.Yet although it may be true to say that, over the last twenty years or so, music educators in the Nordic countries have drawn quite a lot of inspiration from beyond their own borders (Finland and Sweden tending to look towards Hungary; Norway, Iceland and Denmark perhaps turning more often to Britain and the United States), it would be a serious error to imagine that they have no significant ideas of their own! Indeed, an enormous amount has been achieved in these countries from which the rest of us can usefully learn.

Modern Band: A Review of Literature

2021 ◽  
pp. 875512332098852
Author(s):  
Bryan Powell
Keyword(s):  
United States ◽  
Literature Review ◽  
Music Education ◽  
Popular Music ◽  
Teaching And Learning ◽  
The United States ◽  
Music Programs ◽  
Future Research ◽  
School Music ◽  
K 12

The recent increase in popular music education in K–12 school music programs is in part due to the expansion of modern band programming throughout the United States. Modern band is a term used to describe school music ensembles that include popular music instruments and focus on performing music that is meaningful to the students while incorporating songwriting. The purpose of this literature review was to examine relevant research related to modern band music programs in the United States and provide implications for music teaching and learning. Music researchers and professionals have recently addressed specific issues related to increasing the diversity of school music programs, addressing elements of culturally responsive curricula, and positively affecting the social and emotional development of students through modern band. Throughout this literature review, I provide implications for music teachers and discuss areas for future research.

Embracing identity: An examination of non-Western music education practices in British Columbia

2019 ◽  
Vol 37 (2) ◽  
pp. 286-297
Author(s):  
Beth Tuinstra
Keyword(s):  
Music Education ◽  
Teaching Practices ◽  
Classical Music ◽  
Traditional Music ◽  
Music Educators ◽  
Music Programs ◽  
Classroom Culture ◽  
Western Music ◽  
K 12 ◽  
To Receive

Although traditional music programs and university music and music education training programs have mostly incorporated Western classical music, British Columbia’s new curriculum signifies a shift from the Western classical framework to one that is more inclusive of the cultural diversity that exists in Canada. Using the frameworks of decolonization, non-Western music education, and music education and identity, I researched the current practices, experiences, and attitudes of British Columbian kindergarten to Grade 12 (K–12) music educators. I used a mixed-methods questionnaire to gain an understanding of the practices, experiences, and attitudes of these educators ( N = 80). Through this examination, I discovered that although 84% of respondents felt that it was important for students to receive a diverse, non-Western music education, only 63% currently utilized non-Western musics in their teaching practices. Respondents included the benefits or difficulties that they have experienced while including non-Western musics in their teaching practices, but they also talked about the barriers that have prevented them from including non-Western musics into their teaching practices. However, educators reported that by including non-Western musics, students showed greater joy, self-expression, engagement, open-mindedness, and empathy for others, causing a positive shift in classroom culture.

Recent and Continuing Initiatives and Practices in Special Education

2017 ◽  
Vol 104 (2) ◽  
pp. 32-37 ◽  
Author(s):  
Alice-Ann Darrow ◽  
Mary S. Adamek
Keyword(s):  
United States ◽  
Special Education ◽  
Music Education ◽  
Students With Disabilities ◽  
Individualized Education Program ◽  
The United States ◽  
Music Educators ◽  
Disabilities Education Act ◽  
Basic Understanding ◽  
Education Act

A number of initiatives in special education have occurred in the United States over the years, some mandated by amendments to the Individuals with Disabilities Education Act. Having a working knowledge of these initiatives allows music educators to have informed discussions with colleagues and parents and participate more fully in Individualized Education Program (IEP) meetings. Adopting special education practices that are appropriate to music education can also promote consistent and coordinated efforts on behalf of students with disabilities. This article includes summaries of current practices and initiatives in special education. For music educators who would like a basic understanding of their colleagues’ discipline, these summaries offer useful information that can facilitate the inclusion of students with disabilities.

An Analysis of State Music Education Certification and Licensure Practices in the United States

2017 ◽  
Vol 27 (1) ◽  
pp. 65-88 ◽  
Author(s):  
Brittany Nixon May ◽  
Karen Willie ◽  
Cherilyn Worthen ◽  
Allyssa Pehrson
Keyword(s):  
United States ◽  
Music Education ◽  
Teacher Educator ◽  
Relevant Information ◽  
The United States ◽  
Music Educators ◽  
Performance Assessments ◽  
Music Teacher ◽  
Grade Levels ◽  
Music Teacher Preparation

Teacher certification and licensure practices for music educators vary by state. Enhancing music teacher educator knowledge of state music education certification and licensure practices can inform music teacher preparation and improve future music teacher quality. The purpose of this study was to compile relevant information for music educators about the certification practices of each of the United States and the District of Columbia as of January 2016, and to examine the commonalities and differences among the states’ policies. Results revealed a movement toward comprehensive certification for all grade levels and music subject areas. Researchers noted heightened accountability through increased testing requirements and the inclusion of teacher performance assessments.

The Economic Accountability of Music Education

1987 ◽  
Vol 4 (3) ◽  
pp. 223-227
Author(s):  
Elizabeth Oehrle
Keyword(s):  
United States ◽  
South Africa ◽  
Music Education ◽  
The United States ◽  
Music Educators ◽  
The Arts ◽  
United States Economy ◽  
Economic Recessions ◽  
Phase Out ◽  
Positive Effect

Music education struggles to survive in countries such as England, United States and South Africa because of the lack of financial support, particularly during economic recessions. To counter this unfortunate situation, well-written books and articles have been appeared over the years, propounding the truth that the arts do have an essential place in the balanced education of children, but these well-founded and constructed arguments continually fall on deaf ears. During economic recessions government planners and educational authorities rationalise that they can afford to do away with the arts because these subjects make little or no difference to the economic welfare of the country.Information from the best-seller by Peters & Waterman, In Search of Excellence, reveals that the principle characteristics of the managers of excellent companies in the United States are characteristics that concern the creative process of thinking, creative aspects of personality, creative products and environmental conditions. These companies have a positive effect on the United States economy. As the aspect of education which is best equipped to nurture these characteristics is the arts, then it is reasonable to argue that we can not afford to ‘phase out’ music education.Because education in the United States, England and South Africa is closely linked to the economy, music educators in capitalist countries should begin to argue for the arts from an economic standpoint, as capitalistic societies are orientated primarily toward capital gain. Failing this, we shall have to argue for more fundamental changes in political and economic systems.

scholarly journals FILOSOFI MULTIKULTURALISME DALAM PENDIDIKAN MUSIK

Imaji ◽  
2015 ◽  
Vol 4 (1) ◽  
Author(s):  
Djohan Salim
Keyword(s):  
United States ◽  
Cultural Studies ◽  
Music Education ◽  
The United States ◽  
Music Educators ◽  
Multicultural Music Education ◽  
Political Debates ◽  
Multicultural Music ◽  
Education Support

In these recent years, the issue of multiculturalism cannot be ignored in education. It has become a topic of discussions in various settings, such as academic and non-academic forums, political debates, cultural studies, and popular news. The aim of this article is to answer questions about what multiculturalism is and what it means to educators, especially those in music education. Support to music educators in all levels to understand and to implement multicultural music education is crucial. It also aims at describing multicultural music education in the United States and in other countries, including the philosophical ideas, problems and opportunities behind what are stated about multiculturalism. It is hoped that this article can give more perspectives about multiculturalism in education. Keywords: multiculturalism, political debates, music education

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