A case study of designing technology-based flipped learning for pre-service music teachers

2019 ◽  
pp. 51-67
Author(s):  
Ji Hyun Kim ◽  
Young Mee Kim
Keyword(s):  
Music Teachers ◽  
Flipped Learning ◽  
Service Music

scholarly journals THE TECHNOLOGY OF DEVELOPING HARMONIC HEARING

2015 ◽  
Vol 2 ◽  
pp. 530
Author(s):  
Galina Zavadska
Keyword(s):  
Higher Education ◽  
Experiential Learning ◽  
Learning Styles ◽  
Music Teachers ◽  
Learning Model ◽  
Music Teacher ◽  
Important Place ◽  
David Kolb ◽  
Service Music

In Latvia, the development of harmonic hearing takes an important place in the process of training pre-service music teachers, because a music teacher is a conductor of a school choir or a conductor of some other choir collective. The issues relating to the system of properties of harmonic musical hearing have been highlighted in a range of scientific works by different authors (Teplov, 1947; Sloboda, 1988; Petrushin, 1997). However, at present the understanding of the nature and ways of developing harmonic hearing is sometimes quite controversial. This, first of all, can be attributed to the complexity of the interrelations between harmonic hearing and general psychic processes: perception, presentation, reproduction, memory, and thinking. The interconnectedness of general human and specific, individual qualities makes this problem difficult to study. The solution of the problem is made difficult by the fact that a collective teaching at sol-fa classes in a higher education establishment often conflicts with learners’ individual peculiarities and problems of developing their harmonic hearing. Within the frame of the case study the technology of developing harmonic hearing based on the strategy of experiential learning (model by David Kolb, 1984) has been worked out. The presented technology is grounded on individual students’ learning styles and on the author’s model of developing harmonic hearing (Zavadska, 2012b).

A Qualitative Case Study of Flipped Learning Class on College Students

2016 ◽  
Vol 22 (4) ◽  
pp. 777-803
Author(s):  
Sanghoon Im ◽  
Sumin Kang ◽  
Sinwoo Lee ◽  
Yeong-Mahn You
Keyword(s):  
College Students ◽  
Qualitative Case Study ◽  
Flipped Learning

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.

Pre-service music teachers' satisfaction: person–environment fit approach

2012 ◽  
Vol 29 (3) ◽  
pp. 371-385 ◽  
Author(s):  
Serkan Perkmen ◽  
Beste Cevik ◽  
Mahir Alkan
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Teacher ◽  
Theoretical Frameworks ◽  
Vocational Satisfaction ◽  
Highly Correlated ◽  
Service Music ◽  
And Control ◽  
Future Work

Guided by three theoretical frameworks in vocational psychology, (i) theory of work adjustment, (ii) two factor theory, and (iii) value discrepancy theory, the purpose of this study was to investigate Turkish pre-service music teachers' values and the role of fit between person and environment in understanding vocational satisfaction. Participants were 85 students enrolled in the department of music education in a Turkish university. The Minnesota Importance Questionnaire (MIQ) was used to examine the participants’ values in six dimensions: achievement, comfort, status, altruism, safety and autonomy. Results revealed that the pre-service teachers value achievement most followed by autonomy, which suggests that they would like to have a sense of accomplishment and control in their future job. The degree to which their values fit their predictions about future work environment was found to be highly correlated with vocational satisfaction. These results provided evidence that the vocational theories used in the current study offers a helpful and different perspective to understand the pre-service teachers' satisfaction with becoming a music teacher in the future. We believe that researchers in the field of music education may use these theories and MIQ to examine the role of values in pre-service and in-service music teachers' job satisfaction.

American Gamelan and the Ethnomusicological Imagination

2020 ◽  
Author(s):  
Elizabeth A Clendinning
Keyword(s):  
North America ◽  
Music Education ◽  
Performing Arts ◽  
Music Teachers ◽  
American Music ◽  
World Music ◽  
Music Programs ◽  
Music Ensembles ◽  
College Music

The book seeks to answer these questions: Why are there more than 150 gamelans (Indonesian percussion ensembles) in North America, and why are more than half of them associated with American colleges and universities? How and why did gamelan ensembles spark the ethnomusicological imagination? What impact have these ensembles had on college music programs, their local communities, and transnational Indonesian performing arts scenes? How does a lifetime of teaching foreign college students shape the lives of non-American music teachers? First providing an overview of gamelan and its incorporation in education in North America, this book uses the story of the career and community of one performer-teacher, I Made Lasmawan of Bali and Colorado, as a case study to examine the formation and sustenance academic world music ensembles. It examines the way students develop musical and cultural competence by learning gamelan in traditional ethnomusicology ensemble courses and analyzes the merits of including gamelan ensembles in studies in percussion, composition, and music education. More broadly, the book argues that beyond the classroom, the presence of these ensembles shapes transnational arts education and touristic performing arts scenes in Bali. Finally, it advocates for world music ensemble courses as a powerful means for teaching musical and cultural diversity and sparking transnational exchanges, both in and outside the classroom.

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