Transforming Music Teaching via Technology: The Role of Professional Development

2003 ◽  
Vol 51 (4) ◽  
pp. 289-301 ◽  
Author(s):  
William I. Bauer ◽  
Sam Reese ◽  
Peter A. McAllister
Keyword(s):  
Professional Development ◽  
Music Teachers ◽  
Effective Means ◽  
Music Technology ◽  
Music Teaching ◽  
Demographic Information ◽  
Teaching Music ◽  
K 12

The purpose of this study was to determine if 1-week technology workshops can be an effective means for the professional development of music teachers in using technology for instruction. The results indicate that three indicators of effectiveness—teacher knowledge, teacher comfort, and frequency of teacher use—can he significantly improved in these settings. Participants ( N = 63) were music teachers enrolled in summer music technology workshops. At the beginning of the workshops, participants completed a questionnaire designed to provide demographic information and assess their knowledge of music technology, degree of comfort with music technology, and the frequency with which they used music technology in their teaching. Following an intensive weeklong workshop dealing with strategies for teaching music to K—12 students using music technology, participants completed a second questionnaire that was parallel to the first. Participants completed another similar questionnaire 9 to 10 months after the workshop. Significant differences were found between the pre-and. postworkshop questionnaires, between the preworkshop and follow-up questionnaires, and, between the postworkshop and follow-up questionnaires in all three areas. There was also a moderate correlation ( r = .43, p = .00) between participants' frequency of technological use and the degree to which they reported their access to technological resources.

Digital Natives Unplugged: Challenging Assumptions of Preservice Music Educators’ Technological Skills

2020 ◽  
pp. 105708372095146
Author(s):  
Julie K. Bannerman ◽  
Emmett J. O’Leary
Keyword(s):  
Music Education ◽  
Undergraduate Students ◽  
Teaching And Learning ◽  
Online Survey ◽  
Music Teachers ◽  
Daily Basis ◽  
Music Technology ◽  
Net Generation ◽  
Music Teaching ◽  
K 12

Generational labels such as digital native and the “net” generation may obscure the gap that exists between preservice music teachers’ personal uses of technology and how they will use technology professionally. The study’s purpose was to examine preservice music teachers’ personal use of technology, views toward technology in music teaching and learning, and experience with music technology. We distributed an online survey to collegiate members of the National Association for Music Education, with 360 undergraduate students providing responses. Participants reported using technology for a variety of purposes on a daily basis, but mostly in passive ways. Preservice music teachers were most comfortable using music technology common to undergraduate music curricula and less familiar with technology used in K–12 music classrooms. Skilled use of music technology in music teaching and learning situations requires meaningful and intentional facilitation in music teacher education curricula.

The method of emotional education in music teaching

2021 ◽  
pp. 002072092098355
Author(s):  
Hui Hong ◽  
Weisheng Luo
Keyword(s):  
Middle School ◽  
Music Education ◽  
Teaching Methods ◽  
Music Teachers ◽  
Aesthetic Education ◽  
Music Teaching ◽  
True Meaning ◽  
School Music ◽  
Teaching Music ◽  
Emotional Education

Wang Guowei, a famous scholar and thinker in our country, thinks that “aesthetic education harmonizes people's feelings in the process of emotional music education, so as to achieve the perfect domain”, “aesthetic education is also emotional education”. Therefore, in the process of music education, emotional education plays an important role in middle school music teaching, and it is also the highest and most beautiful realm in the process of music education in music teaching. Music teachers should be good at using appropriate teaching methods and means. In the process of music education, they should lead students into the emotional world, knock on their hearts with the beauty of music, and touch their heartstrings. Only when students' hearts are close to music in the process of music education, can they truly experience the charm of music and realize the true meaning of music in the process of music education. Only in this way can music classes be effectively implemented The purpose of classroom emotion teaching.

Professional Development for the Experienced Music Educator: A Review of Recent Literature

2018 ◽  
Vol 37 (3) ◽  
pp. 12-19
Author(s):  
Karen Koner ◽  
John Eros
Keyword(s):  
Professional Development ◽  
Music Education ◽  
Music Teachers ◽  
Recent Literature ◽  
Music Educators ◽  
Initial Examination ◽  
Professional Development Needs ◽  
Emerging Themes ◽  
Teachers Professional Development ◽  
K 12

There is a rich body of literature on professional development in music education, including research that has examined the professional development needs of experienced music teachers specifically. In fact, music teachers’ professional development needs may be affected by their degree of experience in the profession. The purpose of this literature review is to examine scholarship during the period 2007 to 2017 about the professional development needs of experienced K–12 music educators. Initial examination of literature in this area shows two emerging themes, including changing needs throughout the career and informal interactions among music educators, being highly effective.

scholarly journals A matter of presence: A qualitative study on teaching individual and collective music classes

2018 ◽  
Vol 24 (3) ◽  
pp. 356-376 ◽  
Author(s):  
Andrea Schiavio ◽  
Michele Biasutti ◽  
Dylan van der Schyff ◽  
Richard Parncutt
Keyword(s):  
Professional Development ◽  
Grounded Theory ◽  
Qualitative Study ◽  
Music Teachers ◽  
Extended Mind ◽  
Music Pedagogy ◽  
Extended System ◽  
Raw Data ◽  
Cognitive Teaching

In the current study, 11 expert music teachers were asked to reflect on their own practice and compare their experience of individual and collective teaching settings. Adopting an approach based on grounded theory, two interrelated themes were identified in the raw data: teaching issues and professional development. In both categories, the notion of ‘presence’ emerged as a defining feature of the comparison. Teachers reported to be less present in collective settings, whereas one would expect that the higher (cognitive, teaching, etc.) demands associated with more learners would result in teachers being instead more involved in the unfolding dynamics of the lesson. Inspired by the conceptual tools offered by the Extended Mind (ExM) approach, we suggest that in collective settings teachers feel less present because they can offload the cognitive role of ‘teacher’ onto the learners, giving rise to a hybrid extended system that fosters a shared sense of responsibility, where pedagogical dynamics are functionally distributed across the whole group. In reporting excepts from music teachers, and adopting a novel perspective to frame our discussion, our research may contribute to existing literature in (collective) music pedagogy.

Assessment and Technology-Based Music Instruction

2013 ◽  
Author(s):  
Jay Dorfman
Keyword(s):  
Professional Development ◽  
United States ◽  
Development Project ◽  
Music Technology ◽  
Music Instruction ◽  
Learning Objectives ◽  
School Level ◽  
High School Level ◽  
Teaching Music

Assessment is such an important cornerstone of the current educational landscape that it must be a part of discussion about any educational topic, including TBMI. To paraphrase Duke (2005), rather than thinking about assessment as the culmination of an educational cycle, teachers should embed assessment into every lesson, every activity, and our plans for everything that comes next. Duke stated, “The distinction between the assessments and the substance of instruction day to day should be diminished to the point that the day-to-day activities of instruction closely resemble the assessments themselves” (2005, p. 71). In a TBMI class, this is the scenario for which teachers should strive. Still, assessment remains a thorny issue for TBMI teachers because they are often unaccustomed to assessing the types of work that students do in TBMI classes, examples of which were seen in the sample lessons in chapter 6. Assessing what students do informs us about the extent to which they retain information and achieve learning objectives, the quality of that learning, and students’ abilities to apply conceptual understanding to both familiar and novel situations. If we do it for no other reason, assessing students tells us when they are ready to go on to the next bit of information, the next activity, or the next level of complexity of work. I observed Mr. U during a day trip to his school in a suburb in the northeast United States. Mr. U has been teaching music technology classes at the high school level for about 15 years—perhaps the longest of any teacher profiled in this book—and has been nationally recognized for his excellence in doing so. Over that time, he has gone through many changes of equipment, software, and course designs. He has developed a vast and sophisticated set of projects for his students, who can take level 1 and 2 music technology classes. Most of the assignments and requirements are housed on a website that Mr. U developed as part of a professional development project. His students clearly enjoy the music technology classes he teaches.

The integration of music technology into popular music ensembles: Perspectives of modern band teachers

2019 ◽  
Vol 12 (3) ◽  
pp. 297-310 ◽  
Author(s):  
Bryan Powell
Keyword(s):  
New York ◽  
Music Education ◽  
Popular Music ◽  
Music Teachers ◽  
The United States ◽  
Music Technology ◽  
Student Agency ◽  
Music Ensembles ◽  
School Music ◽  
K 12

The increased presence of technology into music education classrooms has coincided to some extent with the increased presence of popular music into school music spaces, especially in the United States. This study examined the integration of music technologies into K-12 (ages 5‐18) popular music programmes in New York City (NYC). One hundred sixty-eight music teachers responded to a survey, all of whom had previously participated in a modern band workshop as part of the Amp Up NYC initiative. Results of the study found that many of the challenges of incorporating music technology into modern bands, including lack of access to technology or faulty hardware, are not unique to popular music ensembles. Some of the successes mentioned by the teachers, including songwriting, beat-making and increased student agency, provide a glimpse into the benefits that integrating music technology into modern band classrooms can offer.

scholarly journals Teacher support - an exploration of how foundation-phase teachers facilitate language skills

2011 ◽  
Vol 58 (2) ◽  
Author(s):  
Anna-Maria Wium ◽  
Brenda Louw
Keyword(s):  
Professional Development ◽  
Expert Knowledge ◽  
White Paper ◽  
Self Evaluation ◽  
Rural And Urban ◽  
First Time ◽  
Supporting Teachers ◽  
Specific Section

The role of speech-language therapists (SLTs) has been redefined by White Paper 6, which emphasises the role of support to both teachers and learners. SLTs have expert knowledge and skills pertaining to communication and language, and therefore have much to contribute to the process of learning in teaching. This article builds on a previous article published in the 2010 edition of the journal, which reported on the process of supporting teachers to facilitate listening, language and numeracy skills in semi-rural and urban (township) contexts. In this follow-up article the focus is on the qualitative findings obtained from a specific section of the larger study. Where the overall study made use of a mixed methods approach to evaluate the process of providing support, and reported on the entire continued professional development (CPD) programme, this article focuses specifically on the qualitative data collected when the CPD programme addressed the facilitation of language. This article explores how the strategies were used in the classrooms, and the benefits of the support provided. The data discussed in this article were obtained from questionnaires, focus groups, and critical self-evaluation by teachers, as well as a research diary used by the programme facilitator. The results show that both the participants and their learners benefited from the support provided. The participants reportedly for the first time were able to meet curriculum outcomes which previously had been omitted, and showed an increased ability to plan their lessons. Several teachers experienced changes in their teaching practices and could reflect on their practices, which contributed to their professional development. These teachers became more empowered. Learning in the classroom was enhanced through increased participation of all learners, and enjoyment of the strategies.

scholarly journals Musikkfaget i norsk grunnskole: Læreres kompetanse og valg av undervisningsinnhold i musikk

2016 ◽  
Vol 10 (3) ◽  
pp. 3 ◽  
Author(s):  
Jon Helge Sætre ◽  
Thor Bjørn Neby ◽  
Tone Ophus
Keyword(s):  
Higher Education ◽  
Professional Identity ◽  
Music Teachers ◽  
Musical Training ◽  
Descriptive Statistics ◽  
Lower Grade ◽  
Music Teaching ◽  
Educational Content ◽  
Teaching Music ◽  
Generalist Teachers

Denne artikkelen presenterer resultater fra en spørreundersøkelse om grunnskolelæreres kompetanse i musikk og deres valg av undervisningsinnhold i musikkfaget i grunnskolen. Dermed bidrar undersøkelsen til å beskrive hva lærere i musikk kan og hva de vektlegger i sin undervisning, og slik også sammenhengen mellom kompetanse og valg av undervisningsinnhold. Utvalget er 135 lærere som underviser musikk på tredje, sjette og niende trinn i fem kommuner på Østlandet. Datamaterialet analyseres gjennom deskriptiv statistikk og variansanalyser (ANOVA). Resultatene viser at de fleste lærere i musikk er allmennlærere med lite formell kompetanse i musikk fra høyere utdanning. Lærere på lave trinn har vesentlig mindre formell kompetanse enn lærere på høyere trinn, og de deltar også i mindre grad i uformell musikalsk læring gjennom musikkpraksis utenfor skolen. Det er også forskjeller i valg av undervisningsinnhold, og disse forskjellene kan ikke forklares av læreplanens beskrivelse av de ulike trinnene alene. Det ser ut til å være klare sammenhenger mellom hva lærere kan og hva de velger å vektlegge i sin undervisning. Likevel er studiens kanskje viktigste bidrag at den antyder at forskjeller i læreres musikkundervisningspraksis påvirkes av flere forhold, og kompetanse (formell og uformell), læreplanforståelse, profesjonell identitet og kjønn ser ut til å være sentrale faktorer.  Nøkkelord: musikk, lærere, kompetanse, undervisningsinnhold, kjønnAbstractThis article presents results from a survey investigating the competence of music teachers in Norwegian primary and lower secondary schools, and their choice of educational content in music lessons. Thus, the survey presents a description of what teachers know, and what they emphasize in their music teaching, and the correspondence between these factors. The sample comprises 135 teachers teaching music in grades three, six and nine in five municipalities. Data is analyzed using descriptive statistics and analysis of variance (ANOVA). The results suggest that most teachers are generalist teachers with sparse musical training from higher education – teachers in lower grades less than teachers in higher grades. The lower grade teachers participate as well to a lesser degree in informal music practices outside school. There are several differences between grade three, six and nine teachers’ choice of educational content, and these differences cannot be explained by curricular differences alone. There seems instead to be systematic correspondence between teachers’ competence and educational content. The results suggest, however, that the differences regarding educational content are affected by an intricate interplay between several factors, including competence, curricular issues, professional identity and gender.Keywords: music, teachers, competence, educational content, gender

scholarly journals Role of flexible cystoscopy and ultrasound in the detection of recurrent Bladder Tumour

KYAMC Journal ◽  
2013 ◽  
Vol 3 (1) ◽  
pp. 214-219
Author(s):  
Md Mohsin Uddin ◽  
A K M Anwarul Islam ◽  
Md Saiful Islam
Keyword(s):  
Effective Means ◽  
Bladder Tumour ◽  
Transitional Cell ◽  
False Negative ◽  
Abdominal Ultrasound ◽  
Flexible Cystoscopy ◽  
Prospective Comparative Study ◽  
The Cost

Background: Rigid cystoscopy under anaesthesia for the surveillance of recurrent bladder tumour creates a large urological workload. Recently, flexible cystoscopy became a popular alternative and an easy, safe and effective means of check cystoscopy in following-up patients of superficial transitional cell carcinoma (TCC) of the urinary bladder. Because of the frequency of tumor recurrences and the necessity of finding, whether a less invasive, easily repeatable investigation is capable of providing precise information about the bladder cavity, and, could decrease the frequency of repeated rigid cystoscopy under anaesthesia and inpatient admission; we have decided to perform this study. Methods: This is a prospective comparative study that involved 85 patients (70 male and 15 female) with a mean age of 61 years (41-80 years), who had undergone one or more transurethral resections for TCC of bladder (stage pTa and pT1; grade I and II.) in the department of Urology, BSMMU between July 2005 -Feb 2007. Ultrasonography(USG) of the bladder was performed one week before check cystoscopy. We have calculated sensitivity and accuracy of USG and flexible in comparison to rigid cystoscopy.Results: Eighty five (85) sessions of follow-up investigations- Ultrasound and flexible cystoscopy showed 31 recurrences confirmed by rigid cystoscopy and biopsy. In over 85 rigid cystoscopies, 54 were negative and 31 were positive for tumour. Sensitivity, the most important parameter, was 97% for the two examinations together. Each method separately had the following sensitivity: ultrasound 77%; flexible cystoscopy 90%.Conclusion: Considering that there was only one false-negative result of combined abdominal ultrasound and flexible cystoscopy; with this follow-up scheme we could have saved our patient from rigid cystoscopies, reducing the cost of in-patient admission and anaesthesia.DOI: http://dx.doi.org/10.3329/kyamcj.v3i1.13655 KYAMC Journal Vol. 3, No.-1, June 2012 pp.214-219

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