Personalizing Educational Development for Online Music Educators

2018 ◽  
pp. 306-319 ◽  
Author(s):  
Jennifer V. Lock
Keyword(s):  
Professional Development ◽  
Music Education ◽  
Educational Development ◽  
Music Educators ◽  
Future Research ◽  
Review Of The Literature ◽  
Online Music ◽  
The Individual

With the growing trend of online music education, how can educational development be more personalized to meet the individual instructor's pedagogical and technological needs? Coaching provides a means to empower online music education instructors to guide their own learning through purposeful and intentional conversations. From a review of the literature, the purpose of this chapter is to examine how and why coaching can be used in fostering robust educational and professional development practices for online music education. Forms of coaching along with elements of a successful coaching program are shared in support of online music education. The chapter concludes with four recommendations to guide coaching practice in support of personalizing learning for instructors and directions for future research.

Creating Virtual Ensembles: Common Approaches from Research and Practice

2021 ◽  
Vol 107 (3) ◽  
pp. 38-46
Author(s):  
Christopher Cayari
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Educators ◽  
The Internet ◽  
Research And Practice ◽  
Music Production ◽  
Music Making ◽  
Teachers And Students ◽  
Online Music ◽  
Education Courses

A virtual ensemble is a digital musical product that uses multiple recordings edited together to form a musical ensemble. Creating virtual ensembles can be a way for music educators to engage students through online music-making. This article presents eight steps for creating virtual ensembles in music education courses and classrooms. The steps are (1) identifying objectives and desired outcomes, (2) selecting repertoire, (3) developing learning resources, (4) creating an anchor for synchronizing, (5) choosing a recording method, (6) setting up a collection platform, (7) editing in postproduction, and (8) distributing the product. As online music production becomes more prevalent, projects like virtual ensembles can provide creative and exciting experiences for music teachers and students, whether produced in the classroom or through remote means on the Internet.

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.

Inspiring the Next Generation of Music Educators: A Multiple Case Study of High School Music Experiences and Career Choice

2020 ◽  
pp. 002242942097578
Author(s):  
Tiger Robison ◽  
Scott N. Edgar ◽  
John Eros ◽  
Kimberly H. Councill ◽  
William E. Fredrickson ◽  
...  
Keyword(s):  
High School ◽  
High School Students ◽  
Music Education ◽  
Multiple Case Study ◽  
Music Educators ◽  
Future Research ◽  
School Music ◽  
Multiple Case ◽  
High School Music

The purpose of this instrumental multiple case study was to explore the roles that high school music educators and the experiences they provide play in influencing high school students’ decisions to pursue a career in music education. Four bounded systems, consisting of programs led by ensemble directors with documented records and reputations for helping matriculate music education students into undergraduate music education programs, were studied. Findings were organized into the following themes: (a) formative attraction to the profession, (b) differing approaches to encouragement, (c) forms of encouragement, and (d) life as a music teacher. Specific implications for practice for multiple stakeholders and implications for future research are provided based on these findings.

Philanthropy in Family Enterprises

2015 ◽  
Vol 29 (1) ◽  
pp. 121-141 ◽  
Author(s):  
Neus Feliu ◽  
Isabel C. Botero
Keyword(s):  
Systematic Review ◽  
Family Business ◽  
Future Research ◽  
Business And Society ◽  
Review Of The Literature ◽  
Individual Level ◽  
Family Enterprises ◽  
The Subject ◽  
The Individual

Philanthropy in family enterprises operates at the crossroads of family, business, and society. Most of the research in this area is approached from the business or the individual level; thus, we have a fragmented understanding of philanthropy in family enterprises. This article presents a systematic review of the literature on the subject. Based on 55 sources published between 1988 and 2014, we explain the drivers of this behavior, the vehicles used to practice it, and the outcomes tied to the practice of philanthropy in family enterprises. We identify gaps in our understanding and provide ideas for future research.

Exploring hip hop music education through online instructional beat production videos

2019 ◽  
Vol 12 (3) ◽  
pp. 247-260 ◽  
Author(s):  
Adam J. Kruse ◽  
Stuart Chapman Hill
Keyword(s):  
Music Education ◽  
Hip Hop ◽  
Future Research ◽  
Important Distinction ◽  
Production Practice ◽  
Vernacular Music ◽  
Instructional Characteristics ◽  
Online Music ◽  
Musical Practices ◽  
Music Research

This study explores online instructional beat production videos as a way to inform hip hop and popular music education and diversify scholarship in online music learning. The authors conducted a content analysis of YouTube videos, considering the instructional characteristics and content of these videos and the musical technologies employed within them. Findings highlight the importance of YouTube as a repository of hip hop beat production instructional material. Videos focused on composition of new beats, rather than re-creation of existing material, underlining an important distinction between hip hop musical practices and the ‘listen and copy’ approach identified in other vernacular music research ‐ and a distinction between these videos and others studied in extant music education scholarship that focuses on YouTube. The videos showcased varied technologies, some of which (e.g., FL Studio) seem especially well aligned with beat production practice. The article concludes with considerations for music educators and for future research.

scholarly journals Modern Band and Special Learners

2020 ◽  
Vol 34 (1) ◽  
pp. 49-52
Author(s):  
David Knapp
Keyword(s):  
Music Education ◽  
Universal Design For Learning ◽  
Music Educators ◽  
Drum Set ◽  
Student Centered ◽  
Music Learning Theory ◽  
Electric Bass ◽  
Informal Music Learning ◽  
Design For Learning ◽  
The Individual

For the greater part of the past 50 years, music educators have advocated for contemporary approaches to music education that reflect the interests of students. This has recently manifested in an approach to music education that scholars call Modern Band. Though the term lacks any one definition, Modern Band classes typically involve popular music making with guitars, drum set, electric bass, and keyboard. Among the features of this approach is a student-centered orientation that is focused on the individual learner. Additionally, Modern Band is rooted in informal music-learning theory, which easily lends itself to the inclusive principles of universal design for learning and differentiated instruction. Because of this, Modern Band may be a perfect fit for inclusive music classrooms.

Playing Together

2018 ◽  
pp. 183-201
Author(s):  
Jennifer V. Lock ◽  
Carol Johnson
Keyword(s):  
Online Learning ◽  
Music Education ◽  
Learning Outcomes ◽  
Social Constructivism ◽  
Meaning Making ◽  
Digital Technologies ◽  
Careful Consideration ◽  
Future Research ◽  
Online Environment ◽  
Online Music

Music education, like many disciplines, is transitioning to the online environment, which impacts the learning landscape. This transition, along with a mindshift by instructors, requires careful consideration of the theoretical underpinnings needed to inform the design, facilitation and assessment to create conditions where students are actively engaged in learning and meaning making. The affordance of digital technologies (e.g., synchronous and asynchronous, multimedia) provides a means for creating and articulating knowledge. This chapter discusses online learning and explores the nature of constructivist and social-constructivist theories and how they can be applied in the design, facilitation, and assessment of online music education. Examples of constructivist learning in online music courses are shared for the purpose of examining how technology can be used to support the learning outcomes grounded on social constructivism. The chapter concludes with directions for future research and implications for practice.

Curriculum and Assessment for Students with Special Needs

2011 ◽  
Author(s):  
Alice M. Hammel ◽  
Ryan M. Hourigan
Keyword(s):  
Music Education ◽  
Special Needs ◽  
Music Educators ◽  
National Standards ◽  
Learning Differences ◽  
Students With Special Needs ◽  
Philosophy Of Music ◽  
Daily Lives ◽  
Music Classroom ◽  
The Individual

Every successful music educator has a curriculum that contains a scope (overarching goals) and sequence (how we will achieve our goals and in what order) that are critical to reaching meaningful educational goals within the music classroom. Walker and Soltis (2004) state: “Working with the curriculum is an integral part of all teachers’ daily lives”. When specific curricula are not mandated (by the state, or federal government), most music educators use a set of standards or guidelines to devise a scope and sequence for classroom teaching (i.e., the National Standards). It is important as music educators to consider their curriculum when preparing to teach all students, not just students with learning challenges. This is what separates an educator from a therapist or a service provider. The questions that we will address in this chapter include: How do music educators maintain a focus on their own curricular goals while adapting that same curriculum to the individual needs of students? And how do we assess and reflect on these goals to make adjustments in our curriculum? These are difficult questions to answer. In fact, this has been a challenge for teachers since the inclusion of students with special needs began following the passage of P.L. 94–142 more than 35 years ago. Walker and Soltis explain, “While many teachers supported the goal, many were offended that rigid regulations were imposed on them without their consent”. All these issues require a thoughtful and sequential approach when preparing, presenting, and assessing instruction in the music classroom. However, the stronger the underlying curricular focus is, the easier it will be to adapt and modify your existing curriculum to individualize instruction for students who have learning differences. Your specific curriculum, if not mandated by your state or school system, will be a result of your philosophy of music education. Even when utilizing prescribed curricula, your choices in scope and sequence will reflect your values in the classroom. These same values will be reflected in the choices you make in modifying your curricula for students with special needs.

20 Years of the MENC Biennial Conference

2016 ◽  
Vol 64 (1) ◽  
pp. 14-28
Author(s):  
Joshua Palkki ◽  
Daniel J. Albert ◽  
Stuart Chapman Hill ◽  
Ryan D. Shaw
Keyword(s):  
Professional Development ◽  
Content Analysis ◽  
Music Education ◽  
Music Educators ◽  
National Standards ◽  
Coding Scheme ◽  
Biennial Conference ◽  
Large Ensembles ◽  
National Music ◽  
Choral Teachers

The purpose of this study was to investigate the content and intended audiences for educational sessions offered at MENC biennial conferences in order to illuminate trends and topics in professional development. The researchers performed a content analysis of each session ( N = 2,593) using program booklets from conferences between 1988 and 2008, creating a coding scheme with separate codes for audience focus and session content. After establishing sufficient interjudge agreement, the researchers coded all educational sessions offered at the conferences from 1988 to 2008. Results indicated that the number of sessions targeted at specific audiences (e.g., choral teachers only) remained small relative to those targeting broader audiences. Content coding revealed large increases in the number of sessions focused on technology and a slight decrease in the number of sessions focused on traditional large ensembles. Session content sometimes followed professional trends (e.g., the inception of the National Standards in 1994) but did not reflect increased attention in the profession to topics such as creativity and students with exceptionalities. These findings have important implications for those planning state and national music education conferences and for music educators who attend these professional development events.

scholarly journals Students' Attitudes Toward Online Music Education During the COVID 19 Lockdown

2021 ◽  
Vol 12 ◽  
Author(s):  
Mǎdǎlina Dana Rucsanda ◽  
Alexandra Belibou ◽  
Ana-Maria Cazan
Keyword(s):  
Online Education ◽  
Music Education ◽  
Teaching And Learning ◽  
Future Research ◽  
Learning Methods ◽  
Learning And Teaching ◽  
Perceived Utility ◽  
Online Music ◽  
E Learning ◽  
Students Attitudes

Given the current pandemic context generated by COVID 19, important changes in the way specific subjects to music education are taught emerged, affecting not only the particularities of learning and teaching in individual courses, but also the other courses regarding group learning or theoretical subjects. In this time, emergency remote teaching and learning requires cross-collaboration between instructional, content, and technological teams. Our research examines the students' attitudes toward online education, also presenting proposals for optimization and efficiency. The research was undertaken after an experience of a University semester in a lockdown context, and it aimed at undergraduate and master's degree students from music faculties in Romania. An important result was the mediating role of perceived utility of e-learning methods, perceived utility mediated the associations between compatibility of online methods and satisfaction toward the use of e-learning methods. The perceived compatibility of e-Learning methods with online music education led to a higher perceived utility which, in turn, predicted a higher satisfaction toward e-Learning Although this period accentuated the fear of interaction with others, the anxiety related to the unknown, the intolerance of uncertainty did not predict the satisfaction toward the use of e-learning platforms. In conclusion, more educational initiatives are needed to promote remote teaching methods in music education. In the absence of similar research in our country, we considered that future research on this topic is needed.

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