scholarly journals Improvisation i musikundervisningen: Tre lärares didaktiska förhållningssätt

2020 ◽  
Vol 1 (1) ◽  
pp. 81-102
Author(s):  
Christina Larsson ◽  
Eva Georgii-Hemming
Keyword(s):  
Music Education ◽  
Thematic Analysis ◽  
Music Teachers ◽  
General Music ◽  
School Year ◽  
Pedagogical Choices ◽  
Process Oriented ◽  
Educational Orientations ◽  
Swedish School ◽  
Pedagogical Approaches

This article draws on interviews with three music teachers. It is part of a larger study that explores improvisation in general music education in the Swedish school year 4. The article focuses teachers’ pedagogical approaches to improvisation and how this effect the teaching. This study reveals that music teachers incorporate improvisation in their teaching. They do, however, lack a professional language in order to reflect on content, methods, aim and purpose of improvisation in education. Through thematic analysis, we demonstrate that pedagogical points of departure and attitudes are implicitly present in the teachers’ practices and have implications for their educational orientation. Three diverse but overlapping educational orientations are discerned: a process-oriented, a subject-oriented and a Bildung-oriented. The educational orientations are reflected in these teachers’ approaches to improvisation and are related to pedagogical choices of activities, how activities are conducted and to what aim.

Sustaining Cultures in the Music Classroom

2020 ◽  
Vol 33 (3) ◽  
pp. 58-60
Author(s):  
Chiao-Wei Liu
Keyword(s):  
Music Education ◽  
Cultural Diversity ◽  
Music Teachers ◽  
Culturally Sustaining Pedagogy ◽  
Crucial Question ◽  
Music Classroom ◽  
Ways Of Being ◽  
Pedagogical Approaches

Cultural diversity is not a new concept in the field of music education. Yet minoritized groups continue to face systematic discrimination. Given the shifting cultural realities, how we as music teachers move beyond recognizing diversity but sustain the various cultural and linguistic ways of being of our students becomes a crucial question. I explore the concept, culturally sustaining pedagogy, as coined by H. Samy Alim and Django Paris and offer some pedagogical approaches for music teachers to consider in this column.

Strategies for the Development of Music Education Philosophy for Preservice Music Teachers: A Literature Review

2021 ◽  
pp. 875512332110495
Author(s):  
Julie Myung Ok Song
Keyword(s):  
Literature Review ◽  
Music Education ◽  
Teacher Educators ◽  
Music Teachers ◽  
Teaching Practice ◽  
Music Teacher ◽  
Constructive Feedback ◽  
Education Philosophy ◽  
Stage Process ◽  
Pedagogical Approaches

The purpose of this literature review was to analyze and synthesize pedagogical approaches related to developing music education philosophy for preservice music teachers. The literature that I identified covered procedures and strategies that preservice music teachers could apply to their teaching practice. On my analysis of the existing literature, I categorized the development of a philosophy into a four-stage process of (1) discovery, (2) articulation, (3) application, and (4) reflection and revision. Results found in the literature included clear expectations and practical tools for each stage, such as dialogues, reading, writing, and constructive feedback, providing a critical view of music education philosophy and guidelines for effective teaching. Understanding the four-stage process may help preservice music teachers and music teacher educators to establish a concrete plan for the development of music education philosophy, allowing preservice music teachers to acquire more confidence in their transition to inservice teaching.

Public School Education within a Democracy

2011 ◽  
Author(s):  
Alice M. Hammel ◽  
Ryan M. Hourigan
Keyword(s):  
United States ◽  
Public School ◽  
Music Education ◽  
Special Needs ◽  
Music Teachers ◽  
The United States ◽  
Label Free ◽  
Students With Special Needs ◽  
School Year ◽  
Public School Education

The beginning of the school year is a time when situations similar to Mrs. Johnson’s first day occur. It is when these first lessons go awry that some music teachers first begin to think of their individual students, rather than the collective group. Who is the girl who moves slower than the rest and uses a walker? Who are the students in the small group who come late each day with a teacher to assist them? Who is the boy who bounds down the hall and begins to take down one of the brand new bulletin boards that have just been finished? The answer to the questions above is that they are all our students. They all have a place in our schools and they all deserve to have an education that includes music. As music teachers, we have both the right and responsibility to educate all the students in our schools. We are charged with studying each student who enters our classroom and with providing all students the music education they deserve. To do this, however, we must begin to plan for the inclusive education of all students before that first group heads down our hall on the first day of school. Unfortunately, until recently this was not the educational philosophy of public schools within the United States. This chapter will introduce the process we as a nation have experienced as we have come to the understanding of what an education for all students in the United States entails, including: challenges within families; the real-world realities of inclusion in practice; and a label-free approach to teaching music in the public school setting. This book is designed to facilitate the planning, implementation, and assessment of music education for students with special needs. It is written from a paradigm that advocates thoughtful inclusion and honors the teaching and learning relationship between music teachers and their students. It is hoped that this text will present a philosophy and a set of guiding principles for teaching students with special needs in a helpful and pragmatic manner.

scholarly journals Qui decideix sobre la música a l’escola? Investigant l’equilibri entre perfils professionals i projectes escolars.

2020 ◽  
Author(s):  
Anna Ma. Sambola ◽  
Albert Casals
Keyword(s):  
Music Education ◽  
Primary Schools ◽  
Music Teachers ◽  
Qualitative Case Study ◽  
Methodological Approach ◽  
Mission Statements ◽  
Music Teacher ◽  
Teaching Staff ◽  
School Year

This article reflects on the figure of the music teacher in the design of the school subject music education and as part of primary education mission statements and plans. In this qualitative case study of Joan Juncadella school in Barcelona, the data was collected through a literature review and interviews and observations of music classes and classes in other subjects, during the course of one school year. The data was contrasted with data from the two other primary schools in Barcelona: Nabí and Els Encants. The findings suggest that when specialist (music) teachers have a stable position as members of teaching staff, this has an important influence on the focus of music education that may be even more noticeable than the influence of teachers on the school’s general methodological approach.

Introducing Technology-Based Music Instruction

2013 ◽  
Author(s):  
Jay Dorfman
Keyword(s):  
Music Education ◽  
Junior High School ◽  
Music Teachers ◽  
Collaborative Group ◽  
Warm Up ◽  
Music Department ◽  
School Year ◽  
It Department ◽  
School Music ◽  
Set Up

Mrs. Jones has 14 years of teaching under her belt. She received her music education degree from an excellent state university program and completed a master’s in music education early in her career during the summers. After teaching at several levels, she has settled in a good junior high school position in an upper middle-class neighborhood. The music department—she and two other teachers—is a collaborative group that consistently turns out strong performances for the school and community. About five years ago, Mrs. Jones noticed that technology was becoming an increasingly important part of many of the school music programs she considered to be on par with her own. She had introduced some technology in her orchestra class—she used notation software to create warm-up exercises and often played listening examples for the students that she stored on her iPod. So, with the same enthusiasm that she approaches most of the parts of her job, she approached her principal about funding a computer lab for the music department. Her request was met with excitement. The principal agreed to set up a lab dedicated to the music department and to schedule a class for Mrs. Jones to teach called Music Technology for the following fall. There was no established curriculum for the class, but Mrs. Jones would have the summer to assemble the curriculum and lesson plans, in consultation with the principal and the other music teachers. They all recognized that starting this class would bring new students to their excellent music department and could only draw more public attention to their good work. The lab would have 15 student stations and an additional station for the teacher. None of the music teachers or the school’s administrators had any expertise in designing computer labs, so they left that task up to the district’s architects. The information technology (IT) department was enlisted to set up all of the hardware and software and to make appropriate network and server connections, with enough time for Mrs. Jones to get used to the lab before the school year would begin.

On Becoming Musical

2017 ◽  
pp. 322-328
Author(s):  
Gena Greher
Keyword(s):  
Music Education ◽  
Special Needs ◽  
Music Teachers ◽  
Music Technology ◽  
Music Teacher ◽  
General Music ◽  
Education Students ◽  
Music Participation ◽  
Music Class ◽  
Context Specific

This chapter examines the role of both high- and low-tech solutions, when using music technology as a form of reflective practice in working with special needs populations. Music teachers often are given little coursework in working with at-risk and special needs students. It is little wonder that music teacher attitudes are often negative regarding the inclusion of these students in music activities, whether it’s in a general music class or ensembles. Rather than marginalizing these students, music technology can be adapted to allow even the most severely impacted student a means to music participation in school settings. Providing music education students with context-specific field experiences working with a variety of special needs populations can help students realize the musical potential of all students.

Novice and Experienced Elementary General Music Teachers’ Classroom Management Self-Efficacy

2020 ◽  
pp. 105708372098046
Author(s):  
Jennifer L. Potter
Keyword(s):  
Music Education ◽  
Classroom Management ◽  
Self Efficacy ◽  
Music Teachers ◽  
Management Strategies ◽  
School Setting ◽  
Teaching Experience ◽  
General Music ◽  
Survey Participant ◽  
Elementary General Music

The purpose of this study was to investigate elementary general music teachers’ classroom management self-efficacy. Targeted participants were novice and experienced elementary general music teachers teaching in urban, suburban, and rural/small town settings who received a survey disseminated through the National Association for Music Education. Survey participant data were analyzed using analysis of variance and analytic induction. Teaching experience had a significant effect on classroom management efficacy, while school setting did not. Themes that emerged from the analysis of responses to open-ended questions included adapting and implementing classroom management strategies, consistency, parental involvement, students’ home environments, and teacher expectations. Implications are also presented that relate to general music teachers’ self-efficacy.

Country Music Education for Diverse and Inclusive Music Classrooms

2020 ◽  
Vol 107 (2) ◽  
pp. 28-34
Author(s):  
Vincent C. Bates ◽  
Jason B. Gossett ◽  
Travis Stimeling
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Teachers ◽  
American Art ◽  
Country Music ◽  
American Music ◽  
General Music ◽  
Art Form ◽  
Musical Practices ◽  
Music Classrooms

Despite its rich heritage and enduring popularity, country music has historically been marginalized in American music education, usually in favor of more “high-brow” musical practices. This article explores potential explanations for this imbalance within the context of a general overview of cultural and social considerations and implications related to this important American art form. Finally, we outline practical steps that music teachers can take toward more inclusive and diverse approaches to music teaching and learning to include country music critically and as appropriate to meet students’ needs and interests. These steps include applications within current approaches to band, orchestra, choir, general music, songwriting, and guitar.

Mentoring for Mentors: The Music Mentor Plus Program

2017 ◽  
Vol 27 (2) ◽  
pp. 39-51 ◽  
Author(s):  
Margaret H. Berg ◽  
David A. Rickels
Keyword(s):  
Music Education ◽  
Student Teachers ◽  
Electronic Communication ◽  
Music Teachers ◽  
Faculty Members ◽  
Methods Course ◽  
Early Field Experience ◽  
Course Content ◽  
School Year ◽  
Supervision Of Student Teachers

The Music Mentor Plus program was designed to introduce mentoring strategies teachers can implement during supervision of student teachers and early field experience interns, while also fostering connections between field-based modeling and university methods course content. Throughout the 2015–2016 school year, seven music teachers and two university music education faculty members engaged in a series of live workshops and ongoing electronic communication. Participants joined in discussions and role-play activities and completed readings and reflection assignments. In this article, we present an outline of the program as well as reflections on the experience from the faculty leaders and participating teachers.

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