scholarly journals ‘Empfindsamer Stil’ And Its Literary Connections: A Cue To Music Instruction

2021 ◽  
Vol 1 (1) ◽  
pp. 109-119
Author(s):  
Samuel Agbenyo
Keyword(s):  
Music Teachers ◽  
Music History ◽  
Music Educators ◽  
Music Instruction ◽  
Musical Work ◽  
Musical Style ◽  
Literary Works ◽  
Carl Philipp Emanuel Bach ◽  
Emotional Disposition ◽  
Bibliographic Study

Empfindsamer Stil is a German expression whose meaning has historically been debated as either a “human emotional disposition” or “a musical style”. This descriptive bibliographic study seeks to investigate the historical development of Empfindsamer Stil, its application in musical contexts, as well as its nexus with literacy works, to inform music instruction. Given the COVID-19 pandemic research environment, most of the data were collected virtually and reported thematically. Findings indicate that Empfindsamer Stil is characterized by an emphasis on the expression of a variety of deeply felt emotions within a musical work, with Carl Philipp Emanuel Bach being the principal exponent. The study also reveals that historians of philosophy across time failed to agree on the meaning of the term Empfindsamer Stil. It was therefore concluded that language is dynamic and evolving. Music educators must ensure to explore the history-contextual significance of musical terminologies, especially those that may be alien within the specific musico-cultural milieu of the learner. Also, in teaching, applying, and assessing lessons involving terminologies, music teachers must take a cue from specific historical epochs and cultures to maximize relevance and fairness. Future studies in music history, in correlation with modern psychology and literary works, will therefore help clarify further whether the term Empfindsamer Stil is best explained as a phenomenon of human emotional disposition or a musical style. Also, more research will better explain the interdependent coexistence of music and various literary works.

scholarly journals EVALUASI MATA KULIAH PIANO UNTUK MENGHASILKAN GURU MUSIK DI SEKOLAH

2013 ◽  
Vol 16 (2) ◽  
pp. 457-473
Author(s):  
Diah Latifah
Keyword(s):  
Music Teachers ◽  
Research Result ◽  
Curriculum Evaluation ◽  
Course Evaluation ◽  
Music Educators ◽  
Music Instruction ◽  
General Music ◽  
Social Inquiry ◽  
The Subject

Studi ini bertujuan untuk mengevaluasi mata kuliah instrumen pilihan wajib piano dan relevansinya terhadap tujuan kurikulum Jurusan Pendi-dikan Seni Musik Universitas Pendidikan Indonesia yang berkomitmen untuk menghasilkan pendidik musik profesional. Untuk memenuhi tuntut-an ini, metode penelitian yang digunakan adalah studi kasus sosial inkuiri. Instrumen penelitian yang digunakan adalah pedoman observasi, pedoman wawancara, lembar pertanyaan lanjutan hasil informasi, dan kajian doku-men serta dokumentasi. Hasil Penelitian menyatakan bahwa partisipan ma-ta kuliah ini belum mampu untuk mengggunakan piano sebagai pengantar pembelajaran musik umum. Informasi ini ditindaklanjuti dengan rekomen-dasi, penyempurnaan silabus dan implementasi pembelajaran mata kuliah instrumen pilihan wajib piano, seyogyanya dilengkapi dengan subjek peng-gunaan piano sebagai pengantar pembelajaran musik di sekolah.Kata kunci: ketidaksesuaian kurikulum, evaluasi, rekomendasi______________________________________________________________ COURSE EVALUATION IN PIANO SUBJECT TO PRODUCE MUSIC TEACHERS IN SCHOOLS Abstract This study was aimed at evaluating “piano as compulsary course” and its relevancy toward the objectives of the curriculum of music edu-cation department of UPI that stated a commitment to provide proffesio-nals music educators. To meet this demand,  the  research methode used is Case Study In Social Inquiry. The research instruments are observation manual, interview manual, information question, and documentation. The research result shows that participants of this course have not shown capability of using piano as introduction to general music instruction. This information is followed up by the recommendations, syllabus improve-ments, and instruction implementation on the subject. It is recommended that ”piano as compulsary course” is equiped with subject of piano usage as introduction of music instruction at schools.Keywords: inappropiate curriculum, evaluation, recommendation

Characteristics of Early Childhood and Elementary General Music Methods Coursework for Preservice Music Teachers

2021 ◽  
pp. 105708372110245
Author(s):  
Karen Salvador ◽  
Mara E. Culp
Keyword(s):  
Early Childhood ◽  
Teacher Candidates ◽  
Music Teachers ◽  
Music Educators ◽  
Music Teacher ◽  
Teacher Education Programs ◽  
General Music ◽  
Music Teacher Education ◽  
Music Methods ◽  
Elementary General Music

Although many music teacher candidates begin university studies planning to teach secondary ensembles, most will ultimately be certified to teach younger children and may be called to do so. The purpose of this study was to examine how music teacher education programs prepare preservice music educators to teach music to children from birth through elementary school through coursework. We emailed survey invitations to representatives from 512 institutions accredited by the National Association of Schools of Music to prepare music educators. We received 134 usable responses (response rate = 26%). Nearly all respondents offered elementary general music methods (EGMM), and over three quarters required EGMM for all students in initial licensure programs. Only about one in ten responding institutions offered early childhood music methods (ECMM). We describe findings on EGMM and ECMM course structures, content, and materials as well as the employment status, degree background, and other qualifications of the person who typically taught this coursework

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.

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.

A Longitudinal Perspective of Early Career Music Teachers: Contexts, Interactions, and Possible Selves

2017 ◽  
Vol 27 (2) ◽  
pp. 52-66 ◽  
Author(s):  
William Dabback
Keyword(s):  
Student Teaching ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Possible Selves ◽  
Music Educators ◽  
Early Career ◽  
Personal Experiences ◽  
Multiple Case ◽  
Possible Selves Theory

The purpose of this multiple case study was to follow the development of three music educators during their student teaching semesters and into the first years of their careers. Possible selves theory provided a framework for exploring the links between cognition, expectations, and motivation. Interviewees negotiated their social and physical contexts, which in turn shaped their self-images and conceptions of teaching and learning. Identities were constructed through personal experiences and formal study with significant others, including influential teachers, cooperating teachers, and colleagues. In these respects, classrooms served as the laboratories in which teachers learned how to build crucial relationships with their students, tested and reshaped emerging identities, and based actions and evaluation on their possible selves.

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.

Teaching the Korean Folk Song (Arirang) Through Performing, Creating, and Responding

2017 ◽  
Vol 31 (1) ◽  
pp. 16-25 ◽  
Author(s):  
Hyesoo Yoo ◽  
Sangmi Kang
Keyword(s):  
Music Teachers ◽  
Music Educators ◽  
Folk Songs ◽  
Folk Song ◽  
Upper Elementary ◽  
Depth Information ◽  
General Music ◽  
Comprehensive Musicianship ◽  
Music Standards ◽  
Music Classrooms

This article introduces a pedagogical approach to teaching one of the renowned Korean folk songs ( Arirang) based on the comprehensive musicianship approach and the 2014 Music Standards (competencies in performing, creating, and responding to music). The authors provide in-depth information for music educators to help their students achieve learning outcomes for the skill, knowledge, and affect domains of the Korean folk song ( Arirang). Furthermore, the authors offer music lessons for Arirang in a variety of ways that are appropriate for upper elementary and secondary general music classrooms, including performing, creating, and responding to the music. An educational website that includes exemplary lesson plans, videos, and worksheets is also provided to help music teachers obtain content and pedagogical knowledge of Arirang.

Accountability Concerns

2013 ◽  
Author(s):  
Jay Dorfman
Keyword(s):  
Music Education ◽  
Music Educators ◽  
Music Instruction ◽  
National Standards ◽  
Music Listening ◽  
Educational Culture ◽  
The Arts ◽  
Music Educators National Conference ◽  
Music Standards ◽  
Teachers And Students

With the advent of technology-based music instruction, we are at an important juncture in terms of standards and accountability. To date, there are no sets of standards that directly address the ways in which TBMI teachers and students work, and therefore there is a lack of clarity as to how we are accountable to the larger educational culture. Several sets of standards exist that come close; they address either the musical or the technological portions of TBMI, but not both. Others address teachers’ roles or students’ roles, but not both. In this chapter, we will examine relevant sets of standards and explore how they imply accountability for TBMI teachers and students. In 1994, the Music Educators National Conference (now the National Association for Music Education) released a document outlining the National Standards for Music Education, in coordination with similar standards in theater, art, and dance. The nine music standards from 1994 were the following: Singing, alone and with others, a varied repertoire of music. Performing on instruments, alone and with others, a varied repertoire of music. Improvising melodies, variations, and accompaniments. Composing and arranging music within specified guidelines. Reading and notating music. Listening to, analyzing, and describing music. Evaluating music and music performances. Understanding relationships between music, the other arts, and disciplines outside the arts. Understanding music in relation to history and culture. The NAfME standards suggest curricula that are distributed among performance, musical creativity, and connections between music and context. These are noble goals for which teachers should strive. The NAfME standards are widely accepted, and many teachers refer to them as benchmarks to assess the completeness of curriculum. In no way do the NAfME standards suggest that musical learning should be achieved through technology, nor do they contain suggestions about how students should meet any of them. In this way, the shapers of the NAfME standards are to be commended because the standards are flexible enough that they can be addressed in ways teachers see fit. Therefore, the standards passively suggest that technology-based music instruction is as valid a means of music learning as are other forms.

Being the Change: Music Teachers’ Self-Reported Changes in Mindset and Practice

2020 ◽  
Vol 39 (1) ◽  
pp. 17-26
Author(s):  
Karen Salvador ◽  
Allison Paetz ◽  
Abby Lewin-Zeigler
Keyword(s):  
Qualitative Analysis ◽  
Teaching Practices ◽  
Classroom Practices ◽  
Music Teachers ◽  
Teaching Experience ◽  
Music Educators ◽  
General Music ◽  
Practicing Teachers ◽  
Years Of Teaching Experience ◽  
Inclusive Instruction

Music educators sometimes enter the workforce un(der)prepared to design and implement inclusive instruction. The purpose of this descriptive interview study was to explore practicing teachers’ self-reported changes in mindset and practice as they worked to become more inclusive. Participants ( N = 20) were music educators with between 1 and 17 years of teaching experience. All participants taught some combination of preK–12 students in general music, choir, band, orchestra, jazz, and other music classes in 10 states. We present qualitative analysis from two sets of interviews concerning self-reported changes in mindsets and teaching practices. We conclude with implications of this study for practicing teachers who wish to enact more equitable and just classroom practices.

scholarly journals Shaping Policy in Music Education: Music Teachers as Collaborative Change Agents

2020 ◽  
Vol 107 (1) ◽  
pp. 43-48
Author(s):  
Carlos R. Abril ◽  
Brent M. Gault
Keyword(s):  
Teacher Evaluation ◽  
Music Education ◽  
Student Learning ◽  
Music Teachers ◽  
Change Agents ◽  
Music Educators ◽  
Music Programs ◽  
Learning Standards

Music educators have experience working in education environments governed by shifting policies and mandates. How can music educators become agents empowered to shape, interpret, and design mechanisms for putting policy into practice? This article describes ways to understand policy and options for responding and contributing to its development and implementation. We examine how music educators have responded to two policy areas that have had a significant impact on music programs and teachers in recent years: (1) learning standards and (2) evaluation of student learning as a component of teacher evaluation. Examples in this article are meant to serve as a case in point for how music educators can become more responsive and actively engaged in policy matters.

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