scholarly journals Using project method for the purpose of educating future music teachers

2021 ◽  
Vol 5 (S2) ◽  
pp. 387-400
Author(s):  
Helena H. Rolinska
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Educational Process ◽  
Training Process ◽  
Self Assessment ◽  
Project Method ◽  
Pedagogical Training ◽  
Teachers And Students ◽  
Short And Long Term ◽  
Project Model

The article discusses the specifics of applying project method to the educational process. The analysis of scientific materials that concern themselves with applying project method is carried out, their main principles are highlighted, and a project model is proposed. Studies conducted in the field of project method were used as materials for this work. During the research, methods of analysis, synthesis, comparison, deduction and induction were used. The research hypothesis is based on the assumption that applying project method to the training process of future music teachers will help students with improving their professional competencies, and increase the motivation to learn. The study proved that applying project method to the training process of educating future music teachers allows for better pedagogical training, motivating students to work more actively, display creativity, and identity. The project method allows students to receive skills of independent and group work, short and long-term planning, and self-assessment. General positive characteristics of applying project method to the training process of educating future music teachers proves the need to adopt this method in higher education institutions. This paper is intended for teachers and students who will implement creative projects while receiving music education.

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.

Music and Social Justice

2021 ◽  
Author(s):  
Cathy Benedict
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Elementary Students ◽  
Music Teachers ◽  
Elementary Music ◽  
Elementary Student ◽  
Teachers And Students ◽  
The Voice ◽  
Elementary Music Education ◽  
The Way

This book challenges and reframes traditional ways of addressing many of the topics we have come to think of as social justice. Offering practical suggestions for helping both teachers and students think philosophically (and thus critically) about the world around them, each chapter engages with important themes through music making and learning as it presents scenarios, examples of dialogue with students, unit ideas, and lesson plans geared toward elementary students (ages 6–14). Taken-for-granted subjects often considered sacrosanct or beyond the understanding of elementary students, such as friendship, racism, poverty, religion, and class, are addressed and interrogated in a way that honors the voice and critical thinking of the elementary student. Suggestions are given that help both teachers and students to pause, reflect, and redirect dialogue with questions that uncover bias, misinformation, and misunderstandings that too often stand in the way of coming to know and embracing difference. Guiding questions, which anchor many curricular mandates, are used throughout in order to scaffold critical and reflective thinking beginning in the earliest grades of elementary music education. Where does social justice reside? Whose voice is being heard, and whose is being silenced? How do we come to think of and construct poverty? How is it that musics become used the way they are used? What happens to songs initially intended for socially driven purposes when their significance is undermined? These questions and more are explored, encouraging music teachers to embrace a path toward socially just engagements at the elementary level.

Teaching Music to Support Students: How Autonomy-Supportive Music Teachers Increase Students’ Well-Being

2020 ◽  
Vol 68 (1) ◽  
pp. 97-119 ◽  
Author(s):  
Arielle Bonneville-Roussy ◽  
Emese Hruska ◽  
Hayley Trower
Keyword(s):  
Music Education ◽  
Autonomy Support ◽  
Music Teachers ◽  
Music Performance ◽  
Well Being ◽  
Music Students ◽  
Teacher Student Relationships ◽  
Teacher Student ◽  
Teachers And Students ◽  
Performance Teachers

According to self-determination theory (SDT), the learning experiences of music students can be explained partly by the autonomy-supportive style adopted by their music teachers. To provide the first in-depth understanding of how music performance teachers support the autonomy of their students and how this support is related to students’ well-being, we adopted SDT and the PERMA model of well-being. We provide answers to three fundamental questions about teacher-student relationships in music: (1) Do music performance teachers support the autonomy of their students in higher music education? (2) How do students perceive this support? and (3) How does autonomy support affect music students’ well-being? Music performance teachers ( n = 35) and students ( n = 190) were recruited from higher music education institutions in the United Kingdom. Analyses included mean comparisons of teachers’ and students’ answers to survey questions, correlational analyses of teacher-student dyads’ responses on measures, and qualitative analyses of open-ended questions. Results showed that teachers and students mostly agreed that teachers provide autonomy support to their students. Teachers’ transmission of passion for music and autonomy-supportive behaviors were related to students’ well-being, whereas controlling behaviors hindered well-being. Qualitative results showed that although students put well-being at the core of their concerns, music teachers seemed unaware or ill-prepared to face those concerns.

scholarly journals Formation of a Scientific and Educational Model of Musical-Psychological Anthropology

2020 ◽  
Vol 8 (3) ◽  
pp. 65-81
Author(s):  
Alla V. Toropova
Keyword(s):  
Graduate Students ◽  
Music Education ◽  
Music Teachers ◽  
Academic Discipline ◽  
Fine Arts ◽  
Educational Process ◽  
Psychological Anthropology ◽  
State University ◽  
Interdisciplinary Field ◽  
Methodological Approaches

The article presents an understanding of the value attitudes and methodological approaches to the construction of the educational discipline “Musical-psychological anthropology”, developed by the author and tested in the educational process at the Faculty of Musical Arts of the Institute of Fine Arts of Moscow Pedagogical State University. The directions of development in the discipline content the ideas and aspirations by E. B. Abdullin are outlined. The connection of the actual problems of pedagogy and psychology of music education with the experience of setting tasks for the project activities of graduate students in the course of Musical-psychological anthropology is shown. Some research results of graduate students which contribute to the development of Music-Psychological Anthropology as an interdisciplinary field and academic discipline at a university, focused on current problems of music education, as well as on the development of professional reflection of music teachers are presented.

scholarly journals Collective Music Making – Challenges and Perspectives

2017 ◽  
Vol 9 (1) ◽  
pp. 1-6
Author(s):  
Guntars Bernats ◽  
Irena Trubina
Keyword(s):  
Music Education ◽  
Theoretical Basis ◽  
Music Teachers ◽  
Listening Skills ◽  
Study Programs ◽  
Teachers And Students ◽  
Program Content ◽  
Survey Results ◽  
Cooperation Partners ◽  
Musical Process

Abstract Over the past decade professionally oriented music education in Latvia has undergone a series of reforms, which significantly affects the collective musical place and role. Aim of the present study: explore the theoretical basis and the further development of collective musical promotion. Materials and methods: The study was conducted in several stages. Originally analyzed scientific literature and training programs for Latvian cultural institutions to develop a theoretical basis 1 - 4th grade professional orientation of Instrument program content creation. Researched were study programs in Latvian universities, which acquired music pedagogy. The next stage of the research were interviewed employers, music teachers and students - future music teachers and, based on the survey results, the creation of new qualifications and new courses in a number of higher education programs. Conclusions: 1. Involving learners in the collective musical process, they are provided (ensured) the ability to comprehensively develop the musical, both in general and also the movement of psychophysiological abilities. 2. Collective musical process develops the essential skills such as socialization, cooperation partners and listening skills. 3. Learners are formed as a personality by acting in musical collective, they develop different skills. 4. Students learning motivation creation and promotion is very important. Musical collective process involved not only contributes to motivation, but creates opportunities for self-realization, without which one can not become filled and self-contained.

scholarly journals Digital educational space in the professional training of a musical art teacher

2021 ◽  
Vol 12 (35) ◽  
pp. 160-180
Author(s):  
Myroslava M. Kachur ◽  
Irena A. Dikun ◽  
Myroslava A. Zhyshkovych ◽  
Liudmyla P. Stepanova ◽  
Inna S. Synevych
Keyword(s):  
Digital Literacy ◽  
Professional Training ◽  
Music Teachers ◽  
Educational Process ◽  
Educational Institutions ◽  
Mathematical Methods ◽  
Higher Educational Institutions ◽  
Art Teacher ◽  
Teachers And Students ◽  
Higher Educational

The objective of this study was to determine whether higher education institutions, teachers and students of the specialization in musical art are prepared to create and use the digital educational space in the educational process. The study involved the following methods: literature review and analysis of the content of official documents of higher educational institutions that provide professional training for music teachers; survey; mathematical methods of data processing; Statistica software package. The research has shown that not all higher educational institutions have the necessary resources to implement learning in the digital education space. Besides, not all higher educational institutions teach subjects that help improve students’ digital literacy. There are also teachers who have difficulties using the digital educational space in the learning process due to lack of digital literacy. The study demonstrated awareness of the importance of using the digital educational space in the education of future music teachers. But, it is necessary to pay attention to improving the digital literacy of all participants in the educational process, as well as provide educational institutions with proper modern recourses, software, hardware and equipment, including also computer music technologies and electronic musical instruments.

Multimedia technology in musical and theoretical training of future music teachers

2017 ◽  
Author(s):  
I. M. Khodorovska
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Individual Characteristics ◽  
Educational Process ◽  
Multimedia Technology ◽  
Wide Range ◽  
Multimedia Technologies ◽  
The Individual ◽  
Amount Of Knowledge ◽  
Multimedia Product

The article presents one of the most current problems of modern music and theoretical education concerning the use of multimedia music and theoretical training of future music teachers. The author actualizes an issue of updating music and pedagogic education through the introduction of a system of advanced computer technology, including the use of modern multimedia facilities in the educational process along with the traditional technologies. In the author’s opinion, it will not only increase motivation, enhance cognitive and creative activities, realize the maximum potential future professionals, but will provide an opportunity to integrate a large amount of knowledge into almost single system. The author supposes an objective demand for the active introduction of multimedia technology in the educational process of art education for the transition to a new level of music and theoretical training of the future music teachers. The article presents the term “multimedia” and defines the concept of “multimedia technology”, which is the amount of technologies that allow the computer to enter, process, store, transmit and display data such as text, graphics, animation, images, video, sound, speech, etc. The article states that the use of multimedia technologies in this field has its limits, according to the nature of music education. However, the use of multimedia technologies during the music and theoretical cycle caused by a wide range of the following tasks: increasing information saturation of the lesson, visibility, savings organizational efforts of the teacher, optimization control skills of the student, taking into account the individual characteristics of students, improvement of learning and memorizing, etc. The author emphasizes that the multimedia product as one of the most modern ways of presenting information in music and theoretical subjects, which can be represented as presentations, video-anthologies, encyclopedic textbooks, reference books, electronic books and manuals, the simulator for practicing various skills tests, quizzes and highlights the most common applications used in modern practice of teaching music and theoretical subjects

The Challenge of Grading in Self and Peer-Assessment (Undergraduate Students’ and University Teachers’ Perspectives)

2016 ◽  
Vol 1 (2) ◽  
Author(s):  
Elmir GURBANOV
Keyword(s):  
Undergraduate Students ◽  
Peer Assessment ◽  
Educational Background ◽  
Educational Process ◽  
Self Assessment ◽  
Cognitive Approach ◽  
Teachers And Students ◽  
To Come ◽  
Improved Learning ◽  
Teachers Perspectives

The goal of the article is to find out the challenges of grading in student self and peer-assessment from teachers’ and students’ perspectives and to suggest ways to cope with them. Peer and self-assessment have accumulated a great significance in the last few decades related to vast application of the cognitive approach and the attempts of making students active agents of educational process rather than passive recipients of information. The overwhelming majority of modern educators believe that these concepts are the cornerstones of modern pedagogy and contributes to the promotion of learner autonomy to a great extent. Therefore, they lead to an improved learning environment and better learning outcomes. However, the concepts have some challenges when it comes to the final stage - grading. Depending on the social, cultural, and educational background, grading of the peer and self-assessment may be accompanied by hesitation and uncertainty as well as subjectivity and lack of reliability. In this work, the issue was investigated from two perspectives, teacher and student, to find out how the stakeholders perceive the problem and what can be done to cope with challenge of grading in self and peer-assessment. The research uses a questionnaire consisting of 20 questions with participation of 31 teachers and 100 students at Qafqaz University, Baku, Azerbaijan, to come to the conclusion about the issue addressing the challenge. The work is believed to be useful for educators to apply self and peer-assessment effectively, and also it can be a useful source for further research in the field.

Policy as Practice

2019 ◽  
Author(s):  
Patrick Schmidt
Keyword(s):  
Civil Society ◽  
Music Education ◽  
Policy Process ◽  
Music Teachers ◽  
Educational Experiences ◽  
Music Educators ◽  
Educational Process ◽  
Professional Communities ◽  
Policy Practice ◽  
Policy Impacts

Policy as Practice: A Guide for Music Educators explores how policy impacts the lives of teachers, arguing that policy participation can matter greatly to how educational experiences are constructed. Articulating a progressive view of policy and its intersection with music education, the book helps the reader to see how policy as a concept and practice has permeated the deepest recesses of civil society and has had particular impact on the lives of those who are actively connected to the educational process. Indeed, for teachers, policy often evokes images of a forbidden or alien environment; it has been seen as above their pay grade, beyond their duties and responsibilities, or outside the reach of their capacities. Nothing, however, could be further from the truth. Challenging these assumptions, the book serves as a guide to those interested in the potential of policy and concerned with rethinking its meaning. Just as critically, it aims to help music teachers understand policy more broadly while providing doorways into policy practice. The goal is not to add policy conceptualization and practice to the myriad other requirements that befall teachers today. Rather, the book aims to position policy thinking and practice as already part of what they do and value, providing tools for music educators to own their place as participants and contributors to the policy process. The book offers a measured argument, providing conceptual and research-based findings in balance with practical exemplification, strengthening music teachers’ impact within learning and professional communities.

scholarly journals INSTRUMENTAL AND PERFORMANCE TRAINING OF STUDENTS OF THE MUSICAL AND PEDAGOGICAL PROFILE AND ITS CULTURAL AND EDUCATIONAL POTENTIAL: THEORETICAL AND PRACTICAL ASPECT

2021 ◽  
pp. 108-115
Author(s):  
Tetyana Oliynyk ◽  
Oksana Umrykhina
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Professional Culture ◽  
Value Orientations ◽  
Educational Process ◽  
Instrumental Performance ◽  
Future Teachers ◽  
Performance Training ◽  
And Performance ◽  
Educational Potential

The article examines the problem of cultural and educational potential of music and performance training in terms of forming the professional culture of future music teachers. In this context, the authors consider the potential of instrumental and performance training as a set of specific features and functions, the implementation of which should ensure the formation of professional culture of future teachers of music. From these positions, we defined the substantial characteristics of cultural and educational potential of instrumental and executive activity and conditions of its realization in educational process of pedagogical ZVO.The article proves that for the fullest realization of the developing and cultural-educational potential of instrumental-performing training of students in a pedagogical institution of higher education, it is important to build an effective system of work in the right direction. The authors see the task of instrumental and performance training of future teachers of music in the education of personal attitude to works of art and to the world, other people, to himself. Thus, the process of instrumental and performing training of future music teachers, which involves the formation of professional culture, should be aimed at mastering performing skills as a way of creative embodiment of knowledge, skills and abilities; on the formation of studentsʼ humanistic orientation, value orientations; on the development of creative independence in the disclosure of musical content; to consolidate the attitude to performing activities in the classroom and gaining experience of free involvement of instrumental performance in school lessons.Among the practical aspects of the formation of professional culture of future teachers in the field of music education, in the educational process the authors focus on the use of a range of pedagogical approaches: systemic, integrative, personal, competence and cultural, which are optimal for the formation of professional culture of future teachers. Process of instrumental and performance training. Keywords: potential, cultural and educational potential, instrumental and performance training, pedagogical approach, future teachers-musicians, art, instrumental performance.

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