scholarly journals Music Teachers’ Perception of Music Teaching at the Stage of Early Adolescence

2021 ◽  
Vol 11 (3) ◽  
pp. 97-118
Author(s):  
Petra Brdnik Juhart ◽  
Barbara Sicherl Kafol
Keyword(s):  
Music Education ◽  
Early Adolescence ◽  
Music Teachers ◽  
Professional Competence ◽  
Music Teaching ◽  
Music Curriculum ◽  
Factors Affecting ◽  
School Music ◽  
Research Findings ◽  
General School

Based on the descriptive method of qualitative educational research, the present study explores music teaching at the stage of early adolescence in terms of general-school music teachers’ viewpoints on factors defining the planning and implementation of music teaching. The study was based on qualitative analysis of data gathered in interviews with 18 teachers from nine countries (Slovenia, Argentina, Australia, USA, Turkey, Poland, Russia, Italy and Germany). The research found that music teaching based on authentic musical communication through the activities of playing, creating and listening to music was favoured by the interviewees. Among the factors affecting the presentation of music teaching at the stage of early adolescence, the quality of curricular bases and the professional competence of music teachers were emphasised. In this context, the research findings showed that music curricula in the international context do not provide a suitable curricular base for the implementation of music teaching. The problem becomes especially salient when the competences of music teachers are insufficient for the transference of the curricular platform to musical praxis through authentic ways of musical teaching. The research findings provide an insight into the complexity of the factors involved, including authentic music teaching, the music curriculum and teachers’ competences, which determine the planning and implementation of music teaching at the stage of early adolescence. In addition, the findings provide a basis for further research in a broader context and for the development of guidelines for curricular updates and the modernisation of music education in general schools.

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.

Elsie Shawe, Music Supervisor in St. Paul, Minnesota (1898–1933)

2004 ◽  
Vol 52 (4) ◽  
pp. 328-342
Author(s):  
Sondra Wieland Howe
Keyword(s):  
Public Schools ◽  
Music Education ◽  
Music Teachers ◽  
National Level ◽  
The United States ◽  
National Accounts ◽  
Music Curriculum ◽  
School Music ◽  
The Board Of Directors ◽  
Music Supervisor

Elsie Shawe (1866–1962), supervisor of music in St. Paul, Minnesota, for thirty-five years, is an example of a music supervisor in the United States who was active in the formative years of the Music Supervisors National Conference (MSNC). Although she is cited only briefly in national accounts, there is a substantial amount of material on her career in local archives. In the St. Paul Public Schools, Shawe supervised classroom teachers, organized the school music curriculum, and conducted performances in the community. She served as a church organist and choir director in St. Paul and was president of the Minnesota Music Teachers Association. At the national level, Shawe was an officer of the NEA Department of Music Education and a member of the board of directors of the MSNC. Through her committee work, Shawe promoted the standardization of patriotic national songs.May 5, 2004November 10, 2004.

First Remembrances of Wanting to Become a Music Teacher

2002 ◽  
Vol 50 (4) ◽  
pp. 323-332 ◽  
Author(s):  
Clifford K. Madsen ◽  
Steven N. Kelly
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Teacher ◽  
Qualitative Assessment ◽  
Factors Affecting ◽  
College Age ◽  
Preparatory Program ◽  
School Music ◽  
Music Education Majors ◽  
Areas Of Interest

In the study described here, we used an open-ended written essay to identify the factors that lead students to become music teachers. Ninety music education majors were given the instructions to indicate in their own words their earliest remembrances of when they considered becoming a music teacher, including age, place, who was with them, how they felt, their thoughts at the time, and any other aspects they considered important. Essays were analyzed and classified according to these areas of interest; additionally as a more qualitative assessment, total responses were analyzed to discern some of the nuances evidenced in individual responses. Results indicated that the age at which the decision was made and influential people in their lives were the most important factors affecting these subjects' decision to become a music teacher. The decision was vividly remembered, with school music teachers exerting the primary influence. Of the subjects, 76% decided to become a music teacher before entering a teacher preparatory program. Students who did not decide until they were of college age remained ambivalent about their choice.

‘When I say “modern”, you say “band”’: A critical narrative of modern band and Little Kids Rock as music education curriculum

2021 ◽  
Vol 00 (00) ◽  
pp. 1-22
Author(s):  
Jesse Rathgeber ◽  
Cara Faith Bernard
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Change Agents ◽  
Text Messages ◽  
Music Teaching ◽  
Music Curriculum ◽  
Curriculum And Pedagogy ◽  
Included Review ◽  
Teaching Discourses ◽  
Curricular Resources

This article is based on the lived experiences of the authors engaging with modern band and the organization Little Kids Rock (LKR). We approach this research as critical storytelling to highlight the importance of critique of music curriculum and pedagogy. We identify moments of cognitive dissonance we experienced with LKR and modern band and unpack them through theory. Data included review of LKR materials, journals, text messages, reflective writing and discussion around participation in LKR-sponsored events. We share our critical story through text messages and narration, through which we note issues such as neo-liberalism and indoctrination; language (mis)use through educational buzzwords; identity reformation and the manner in which teachers feel a need to cling to methodolatry or act as change agents. We illustrate the central role critique plays in music teaching discourses and practices to guide music teachers to accept vigilance of curricular resources and pedagogical approaches presented to them.

Honoring Trans and Gender-Expansive Students in Music Education

2021 ◽  
Author(s):  
Matthew L. Garrett ◽  
Joshua Palkki
Keyword(s):  
Gender Identity ◽  
Music Education ◽  
Teacher Educators ◽  
Music Teachers ◽  
Gender Diversity ◽  
Practical Applications ◽  
School Music ◽  
And Gender ◽  
General School ◽  
Music Classrooms

Trans and gender-expansive (TGE) youth deserve safe and empowering spaces to engage in high-quality school music experiences. Supportive music teachers ensure that all students have access to ethically and pedagogically sound music education. In this practical resource, authors Matthew Garrett and Joshua Palkki encourage music educators to honor gender diversity through ethically and pedagogically sound practices. Honoring Trans and Gender-Expansive Students in Music Education is intended for music teachers and music teacher educators across choral, instrumental, and general music classroom environments. Grounded in theory and nascent research, the authors provide historical and social context, and practical direction for working with students who inhabit a variety of spaces among a gender-identity and expression continuum. Trans and gender-expansive students often place their trust in music teachers, with whom they have developed a deep bond over time. It is essential, then, for music teachers to understand how issues of gender play out in formal and informal school music environments. Stories of TGE youth and their music teachers anchor practical suggestions for honoring students in school music classrooms and in more general school contexts. Part I of the book establishes the context needed to understand and work with TGE persons in school music settings by presenting essential vocabulary and foundational concepts related to trans and gender identity and expression. Part II focuses on praxis by connecting research and teaching pedagogy to practical applications of inclusive teaching practices to honor TGE students in school music classrooms.

scholarly journals Understanding curriculum design in the perceptions and practices of classroom music teachers in the lower secondary school in England

2021 ◽  
pp. 1-12
Author(s):  
Anthony Anderson
Keyword(s):  
Music Education ◽  
Curriculum Design ◽  
Music Teachers ◽  
Continuing Professional Development ◽  
Teacher Planning ◽  
Music Curriculum ◽  
Structured Interviews ◽  
Research Findings ◽  
Key Stage 3 ◽  
Curriculum Practices

Abstract Curriculum design is a domain that infrequently forms a discrete element of initial teacher training, or continuing professional development for music teachers in English secondary schools. Classroom music teachers, teaching Key Stage 3 (KS3) learners (11–14-year olds), are, however, required to design their own curriculum. Teachers are accountable to school leaders for curricula they implement, and the outcomes from their selected approaches. This article discusses classroom music curriculum practices and their significance in music education. The research project was conducted with music teachers from schools in the East and West Midlands of England, utilising questionnaires and semi-structured interviews. Research findings are conceptualised in a model of music curriculum activity. The research thereby facilitates discussion of unacknowledged complexities and tacit teacher planning practices in music curriculum design.

scholarly journals An Investigation of Pre-Service Music Teachers’ Self-Regulatory Skills

2021 ◽  
Vol 3 (3) ◽  
pp. 548-562
Author(s):  
Yavuz Selim Kaleli
Keyword(s):  
Academic Achievement ◽  
Music Education ◽  
Music Teachers ◽  
The Self ◽  
Factors Affecting ◽  
Significant Difference ◽  
Research Findings ◽  
And Performance ◽  
Service Music ◽  
Achievement Levels

Self-regulatory skill is one of the important factors affecting academic orientation and performance of learners at all levels in learning-teaching processes. The aim of this study is to compare the self-regulatory skills of pre-service teachers studying in music education departments based on the variables of gender, class, overall achievement and performance in individual instruments lessons. The study was conducted with 198 Pre-service Music Teachers studying at Necmettin Erbakan University and Gazi University. Data were collected by using Academic Self-regulatory Skills Scale. Research findings showed that pre-service music teachers’ self-regulatory skills differed based on the variables of year of study, achievement levels in individual instrument lessons and overall academic achievement. It was found that students with high academic achievement levels had effective self-regulatory skills. However, no significant difference was found between the self-regulatory skills of male and female pre-service music teachers.

The Role and Influence of Performance in School Music Programs: A Grounded Theory

2020 ◽  
pp. 002242942095311
Author(s):  
Marshall Haning
Keyword(s):  
Grounded Theory ◽  
Music Education ◽  
Learning Process ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Music Programs ◽  
Future Research ◽  
Music Teaching ◽  
School Music ◽  
K 12

The purpose of this grounded theory research was to investigate music teachers’ perceptions of the role and influence of performances in K–12 music programs and the processes by which these performances impact music teaching and learning. Three specific research questions informed this study: (1) What role do performances play in school music programs? (2) How are music teachers’ pedagogical decisions informed or influenced by their efforts to mount performances? and (3) What other aspects of the music teaching-learning process are influenced by efforts to mount performances, and what form does this influence take? Five themes emerged to describe the ways in which efforts to prepare and mount performances interact with the music teaching and learning process: community expectations, student motivation, time management, teaching strategies, and teacher views of performance. These themes were used to generate an emergent theory including two interlocking process cycles that illustrate the ways in which performances are situated within school music programs. Implications for the field of music education and for future research are discussed.

scholarly journals In Terms of Music Teachers, the Evaluation of Music Types in the Curriculum for Music in Secondary Education in Turkey

2014 ◽  
Vol 2 (1) ◽  
pp. 19
Author(s):  
Gülnihal Gül
Keyword(s):  
Middle School ◽  
Music Education ◽  
Folk Music ◽  
Classical Music ◽  
Music Teachers ◽  
Music Teaching ◽  
School Music ◽  
The Republic ◽  
Education In Turkey ◽  
Teaching Programs

Along with the establishment of the Republic, a song repertoire consisting of transferred songs was previously endeavoured to be formed by taking school music samples of foreign countries and writing Turkish words below them. Afterwards, with the same percept, an imitation songs repertoire was attempted to be formed by our composers. Since the 1950s, the idea that school music should be on the axis of folk music and that music education should be carried out through school music samples composed from the close environment of the child has begun to take place. Together with the various developments since the 1970s, the tendency towards soft music has strengthened in society and also interest in Turkish classical music has increased. Moreover, since the 1970s, soft and classical music samples have begun to be used in music education, which was built on folk music in 1968. Thus, high school music teaching programs which went into effect in 1986 were prepared accordingly. Today, the sense that bringing to the classroom appropriate samples of vital music types in society, getting the student to learn at least one example of each music type and introducing these types is dominating. In this study, music types in middle school music teaching programs in Turkey were endeavoured to be evaluated in terms of music teachers. The subject was researched with the case study method which is one of the qualitative research methods. The oriented exemplification method was used in the study and 5 music teachers working in a middle school participated in the study group. The data was analysed by forming the necessary coding and themes. According to the obtained findings, results and suggestions were given place.

The Value of Learning Collective Free Music Improvisation: Preservice Music Educators’ Perspectives

2021 ◽  
Vol 30 (3) ◽  
pp. 40-53
Author(s):  
Hoon Hong Ng
Keyword(s):  
Music Teachers ◽  
Music Educators ◽  
Music Curriculum ◽  
Group Discussions ◽  
Music Improvisation ◽  
Free Improvisation ◽  
Entrepreneurial Skills ◽  
School Music ◽  
Collaborative Skills

I conducted a case study to explore preservice music teachers’ behaviors, thoughts, and feelings when engaged in collective free music improvisation. Nine preservice music teachers were taught how to freely improvise within groups as part of a teacher education course and participated in interviews and focus group discussions. Major themes highlighted learning across three segments that emphasized communication and collaborative skills, entrepreneurial skills and risk taking, and reconciliation and transformation. I concluded that the sociomusical outcomes produced by collective free improvisation may complement those of more formal and idiomatic improvisation practices, and that by introducing preservice music teachers to free improvisation activities, they may be more willing to engage PK–12 students in free improvisation lessons that enhance the existing school music curriculum.

Sign in / Sign up

Export Citation Format

Share Document