Music Teachers’ Experiences in a Summer Institute for Teaching Music Composition Using Technology

The impact of teacher dispositions on the professional development of preservice music teachers (PMTs) has been substantiated. This chapter describes an approach to dispositional development within the structure of an introduction to music education course. A teacher concerns model is used to organize this systematic approach through three developmental stages that include self-concerns, teaching task concerns, and student learning concerns. A series of 11 critical questions are presented for use in guiding PMTs’ dispositional development through these developmental stages. Activities to engage PMTs in the exploration of each of these questions are detailed for use by music teacher educators desiring to engage PMTs in dispositional development.

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The charmed dyad: Multimodal music lessons for pupils with severe or multiple disabilities

Research Studies in Music Education ◽

10.1177/1321103x20974802 ◽

2021 ◽

pp. 1321103X2097480

Author(s):

Melissa Bremmer ◽

Carolien Hermans ◽

Vincent Lamers

Keyword(s):

Music Education ◽

Music Teachers ◽

Teaching Practice ◽

Meaning Making ◽

Multiple Disabilities ◽

Children's Music ◽

Four Dimensions ◽

Music Lessons ◽

Multiple Case ◽

Teaching Music

This multiple-case-studies research explored a multimodal approach to teaching music to pupils (from 4 to 18 years old) with severe or multiple disabilities. By combining music with, for example, tactile stimulation, movement, or visuals, meaning-making processes in music of these pupils was stimulated, helping them to understand the internal structures and expressive qualities of music. Three music teachers and a social worker participated in this study. Individual and collective video reflections and microanalysis were applied to gather data about their multimodal teaching practice. The data were analyzed through Schmid’s framework (2015) of “multimodal dimensions of children’s music experiences,” developed for general music education. This framework consists of four dimensions: narrativity, sociality, materiality, and embodiment. Based on the findings, Schmid’s framework could be revised for special education, thus providing music teachers with a tool for designing multimodal music lessons for pupils with severe or multiple disabilities.

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The method of emotional education in music teaching

International Journal of Electrical Engineering Education ◽

10.1177/0020720920983559 ◽

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.

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USING WEB-BASED MUSIC COMPOSITION APPLICATIONS TO ENHANCE NON-SPECIALIST PRIMARY TEACHERS’ SELF-EFFICACY IN MAKING AND TEACHING MUSIC

EDULEARN20 Proceedings ◽

10.21125/edulearn.2020.2087 ◽

2020 ◽

Author(s):

Joanne Harris ◽

Christine Carroll

Keyword(s):

Self Efficacy ◽

Music Composition ◽

Primary Teachers ◽

Web Based ◽

Teaching Music

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Transforming Music Teaching via Technology: The Role of Professional Development

Journal of Research in Music Education ◽

10.2307/3345656 ◽

2003 ◽

Vol 51 (4) ◽

pp. 289-301 ◽

Cited By ~ 33

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.

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Health and Wellness for In-Service and Future Music Teachers: Developing a Self-Care Plan

Music Educators Journal ◽

10.1177/0027432119846950 ◽

2019 ◽

Vol 105 (4) ◽

pp. 52-58

Author(s):

Christa Kuebel

Keyword(s):

Mental Health ◽

Music Education ◽

Stress Reduction ◽

Music Teachers ◽

Teacher Educator ◽

Self Care ◽

Music Educators ◽

Care Plan ◽

Health And Wellness ◽

Teachers Experiences

Researchers have published an increasing number of reports about undergraduate music students suffering from depression, anxiety, and stress as well as of in-service teachers’ experiences with burnout. Whether an undergraduate music student, a teacher, or a teacher educator, those in our profession need to increase awareness of the prevalence of stress and mental health concerns in music education. Along with presenting information to increase mental health literacy, this article discusses the use of self-care as a form of stress reduction among current and future music educators.

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Considerations With Virtual Secondary Music Students

Journal of General Music Education ◽

10.1177/27527646211061504 ◽

2021 ◽

Vol 35 (2) ◽

pp. 29-35

Author(s):

Elizabeth Bucura

Keyword(s):

Learning Environments ◽

Home Environment ◽

Music Teachers ◽

Well Being ◽

Music Students ◽

Music Learning ◽

Secondary Music ◽

Home Learning ◽

Learning Platforms ◽

Teaching Music

The global COVID-19 pandemic disrupted learning environments, adding significantly to an already-challenging time for adolescents. In many cases, students and teachers have abruptly shifted to online learning platforms that may occur entirely in a home environment. Music often plays a significant role in adolescents’ processes of identity-building and social connection. Music classes might play an important role in coping during these times, even when learning is virtual. Music teachers may question students’ well-being and their own mentorship roles. This article includes concerns about teaching music with adolescents, specifically when adapted to virtual technologies. Considerations are detailed for pedagogical care and possible benefits of at-home learning that might enhance students’ music learning experiences.

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Teaching Music Online: Using Microsoft Stream and Forms to Share Prerecorded Lessons

General Music Today ◽

10.1177/10483713211034440 ◽

2021 ◽

pp. 104837132110344

Author(s):

Timothy David Norman

Keyword(s):

Music Teachers ◽

General Music ◽

Teaching Music

Due to the COVID-19 pandemic, many schools have been teaching music online. This is the second column of a two-part series exploring this topic. In this column, I discuss how general music teachers can share prerecorded lessons that contain interactive questions using Microsoft Stream and Forms.

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Opinions of University Music Teachers on the Musical Competencies Necessary for Primary Education Teachers

International Journal of Higher Education ◽

10.5430/ijhe.v6n1p197 ◽

2017 ◽

Vol 6 (1) ◽

pp. 197 ◽

Cited By ~ 1

Author(s):

Jasna Sulentic Begic ◽

Amir Begic ◽

Tihana Skojo

Keyword(s):

Teacher Education ◽

Music Education ◽

Primary Education ◽

Teaching Methods ◽

Music Teachers ◽

Sample Survey ◽

Practical Training ◽

Musical Ability ◽

The Republic ◽

Teaching Music

This paper describes the research conducted in the Republic of Croatia during the 2012/13 academic year. We have gathered opinions from experts, i.e. teaching methods teachers from seven faculties of teacher education, regarding the music teaching competencies necessary for primary education teachers teaching music in the first several grades of elementary school. We used the Delphi method in our research, i.e. in our sample survey among teaching methods teachers. The teachers also evaluated the competencies of their students and some elements of teacher education studies course syllabi and programmes. The sample survey among the teachers was implemented via email. The goal of the research was to determine if the programmes of the music courses at the teacher education studies are appropriate for the development of the competencies necessary for students of music education. Teaching methods teachers emphasized the need for more practical training, primarily regarding playing instruments and singing, and they pointed out that the course Teaching Methods in Music is the most important course for the training of future music teachers. Aside from that, they believe that more classes should be devoted to music courses, i.e. they propose to reorganise the contents of the courses by increasing the amount of practical classes and reducing the amount of theory classes. They also believe that it is necessary to introduce testing of musical ability at entrance exams for admission into the teacher education studies.

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The Development of an Inclusive Model to Construct Teacher’s Professional Knowledge: Pedagogic content knowledge for sound-based music as a new subject area

Organised Sound ◽

10.1017/s1355771819000347 ◽

2019 ◽

Vol 24 (3) ◽

pp. 274-288

Author(s):

Motje Wolf ◽

Sarah Younie

Keyword(s):

Content Knowledge ◽

Music Teachers ◽

Traditional Music ◽

Subject Area ◽

Electroacoustic Music ◽

Pedagogic Content Knowledge ◽

Knowledge Domains ◽

Subject Content Knowledge ◽

Teaching Music ◽

Epistemological Analysis

This article outlines a systematic process for developing the different knowledge domains required for teaching sound-based (electroacoustic) music as a new subject area. As a new area within the discipline of music, teachers are novices to the field. This requires epistemological deconstruction of what knowledge teachers need in this new field. Then the analysis outlines how to develop teachers’ new knowledge, which can be constructed as subject content knowledge (SCK), pedagogic content knowledge (PCK) and technology pedagogic content knowledge (TPACK). This epistemological analysis informed our creation of teaching materials that develop these different knowledge domains and take account of the complex interplay between them. This process was demonstrated through the ElectroAcoustic Resource Site Projects, which first built subject content knowledge and then created teacher’s packs to build pedagogic content knowledge, and a bespoke CPD programme, which embedded their inter-relationships and built technology pedagogic content knowledge. Most importantly, creating the teacher’s packs employed a user-centred design approach, putting teachers and pupils in the centre of the development process, thereby giving them voice. Voice is an integral part of empowerment in our model, which disrupts the hegemonic grip of the academic curriculum dominated by the traditional music canon. This article adds to the knowledge-base regarding how to develop the different domains required for teaching a new subject. We argue that sound-based music is accessible to all teachers and learners, thereby increasing inclusivity. This in turn can radically disrupt ways of teaching music in schools and the model created provides the necessary scaffolding for a paradigm shift in music teaching on an international level.

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