scholarly journals Music Education and Postgraduate Study: The Case of Dokuz Eylül University

2021 ◽  
Vol 11 (3) ◽  
pp. 516-526
Author(s):  
banu özevin
Keyword(s):  
Music Education ◽  
Role Models ◽  
Graduate Program ◽  
Single Case ◽  
Postgraduate Education ◽  
Faculty Members ◽  
Music Teaching ◽  
Graduate Faculty ◽  
Program Outcomes ◽  
Institutional Goals

The purposes of this study are to shed light on postgraduate education in Music Teaching and draw inferences about the future by evaluating the Music Teaching Postgraduate Program in Dokuz Eylul University Institute of Educational Sciences. The research is a qualitative study modelled with a single-case embedded study. In accordance with the interlocking single case pattern, the Music Education graduate program was examined by focusing on student, graduate, faculty member, theses. The opinions of 10 students, 23 graduates and 6 faculty members were taken to evaluate the program, and 57 master’s and 20 doctoral theses were examined. As a result of the content analysis,opinions were collected under four main categories. These categories are defined as “institutional goals”, “content”, “program outputs” and “updates”. In the category of program outcomes, the theses were evaluated according to various categories and the professional orientations of the graduates were statistically shared. According to the results of the research, the following conclusions were made: students should be informed at the beginning of the program in order to understand the vision and mission of the institution and to make the process they spent in the education process meaningful; A “scientific research in music education” course should be added to the program in order to conduct qualified research in the field of music education; subjects and research groups in theses should be diversified; faculty members should be role models in preparing thesis and academic studies for their advisors; graduate programs should be updated according to the needs of the time and society.

Graduate Students’ Experiences: Developing Self-efficacy

2018 ◽  
Vol 15 (1) ◽  
Author(s):  
Francine Laurencelle ◽  
Judith Scanlan
Keyword(s):  
Graduate Students ◽  
Self Efficacy ◽  
Nurse Educators ◽  
Graduate Program ◽  
Doctoral Degree ◽  
Faculty Members ◽  
Graduate Faculty ◽  
Structured Interviews ◽  
Nursing Graduate ◽  
Canadian City

AbstractThe nurse educator shortage continues without an increase in the numbers of graduate prepared nurses. Studies identified challenges in recruitment of nursing graduate students. No studies explore the experiences of nurses during graduate education. The framework used was Bandura’s self-efficacy theory. The population for this study included 15 nurse educators with a master’s or doctoral degree currently teaching in an undergraduate or graduate program in a western Canadian city. In semi-structured interviews, participants shared their experiences. Two themes emerged from the data: i) the hurdles of learning and ii) being a graduate student. The purpose of this article is to report the findings of faculty members’ experiences as graduate students. Understanding these experiences will help graduate faculty understand how graduate students develop self-efficacy throughout their graduate programs. Moreover, findings of this study will help graduate students succeed in a graduate program. Finally, issues related to recruitment and retention are addressed.

Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning

2020 ◽  
pp. 291-312
Author(s):  
Marissa Silverman
Keyword(s):  
Social Media ◽  
Music Education ◽  
Case Studies ◽  
Teaching And Learning ◽  
The Body ◽  
The Internet ◽  
Philosophical Investigation ◽  
Music Teaching ◽  
Music Making ◽  
The Voice

This chapter asks an important, yet seemingly illusive, question: In what ways does the internet provide (or not) activist—or, for present purposes “artivist”—opportunities and engagements for musicing, music sharing, and music teaching and learning? According to Asante (2008), an “artivist (artist + activist) uses her artistic talents to fight and struggle against injustice and oppression—by any medium necessary. The artivist merges commitment to freedom and justice with the pen, the lens, the brush, the voice, the body, and the imagination. The artivist knows that to make an observation is to have an obligation” (p. 6). Given this view, can (and should) social media be a means to achieve artivism through online musicing and music sharing, and, therefore, music teaching and learning? Taking a feminist perspective, this chapter interrogates the nature of cyber musical artivism as a potential means to a necessary end: positive transformation. In what ways can social media be a conduit (or hindrance) for cyber musical artivism? What might musicing and music sharing gain (or lose) from engaging with online artivist practices? In addition to a philosophical investigation, this chapter will examine select case studies of online artivist music making and music sharing communities with the above concerns in mind, specifically as they relate to music education.

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.

Faculty Perspectives on the Master’s Degree in Music Education

2022 ◽  
pp. 105708372110677
Author(s):  
D. Gregory Springer ◽  
Kari Adams ◽  
Jessica Nápoles
Keyword(s):  
Music Education ◽  
Teacher Educators ◽  
Master's Degree ◽  
Faculty Members ◽  
Music Teacher ◽  
Research Articles ◽  
Faculty Perspectives ◽  
Doctoral Study ◽  
Teaching Pedagogy ◽  
Master’S Degree

The purpose of this study was to examine music education faculty members’ perceptions of the master’s degree in music education (MME). A total of 76 music teacher educators completed a researcher-designed survey instrument. Participants believed their MME students’ top four motivations for pursuing MME degrees were to become a better teacher, to gain a higher salary, to create a possible pathway to doctoral study in the future, and to gain academic stimulation through graduate level coursework. Faculty also indicated the MME degree was focused on both teaching/pedagogy and research. Participants explained that their students primarily learn about research through reading and discussing research articles in class, and that their students learn about pedagogy primarily from reading pedagogical articles and reflecting on personal teaching videos. In addition, participants presented various opinions regarding the purpose of MME degrees. Implications for music teacher educators are discussed.

Philosophical and Theoretical Foundations

2013 ◽  
Author(s):  
Jay Dorfman
Keyword(s):  
Music Education ◽  
Critical Role ◽  
Music Teaching ◽  
Graduate Degree ◽  
Philosophy Of Music ◽  
Musical Skills ◽  
Art Form ◽  
School Music ◽  
Broad Subject ◽  
Teaching Music

Many authors have explored the ideas of philosophy and educational theory and how those ideas can serve as a foundation for teaching practices. Philosophy is a broad subject, and it is not the purpose of this book to create a new philosophy of music teaching and learning; however, we can beneficially draw on philosophical and theoretical works of others to form some foundations. By necessity, a theory of technology-based music instruction begins with a theory of music education. To deviate from this would be to neglect the important theoretical work that forms the guiding foundation of teaching in our chosen art form. The critical role of theory in this new method of teaching is to help technology-based music instructors develop dispositions that make this type of teaching less forced, more natural than it might otherwise be. The most successful technology-based music teachers are those who recognize the capacities of their students to engage with technology, to be creative, and who are willing to modify some beliefs—possibly long-held ones—to allow their students the freedom to explore and construct their musical skills and knowledge. These are difficult dispositions to develop. Understanding some important theoretical and philosophical work can help in treading that path by helping teachers acknowledge findings that have come before, and by letting us make critical decisions about the ways we teach and our students learn. The teacher in the following Profile of Practice has developed trust in his students and himself, assurance that he can promote students’ creativity, and confidence in his TBMI abilities. He knows that students come to his classes with unique worldviews, and with experiences, both musical and otherwise, accumulated over each of their lifetimes. While he does not place great emphasis on theoretical models of creativity or on articulating his own music teaching philosophy, his teaching reflects some of the most important philosophical dispositions found in effective TBMI teachers. Mr. E teaches middle school music in a relatively affluent suburb. He is fortunate to have experiences teaching music at many levels and has a wealth of formal training in music technology from both his undergraduate and graduate degree work.

scholarly journals Music Teacher Rankings of Selected Core Teaching Practices

2019 ◽  
Vol 29 (1) ◽  
pp. 86-99
Author(s):  
J. Si Millican ◽  
Sommer Helweh Forrester
Keyword(s):  
Music Education ◽  
Teaching Practices ◽  
Teacher Educators ◽  
Music Teachers ◽  
Music Teacher ◽  
Music Teaching ◽  
Pedagogical Content ◽  
Technical Vocabulary ◽  
History Of ◽  
Service Music

There is a decades-long history of music education researchers examining characteristics and skills associated with effective teaching and assessing how preservice music teachers develop those competencies. Building on studies of pedagogical content knowledge and the professional opinions of experienced music educators, researchers are now attempting to identity a body of core music teaching practices. We asked experienced in-service music teachers ( N = 898) to think about the skills beginning music teachers must possess to investigate how respondents rated and ranked selected core music teaching practices in terms of their relative importance. Developing appropriate relationships with students, modeling music concepts, and sequencing instruction were the top core teaching practices identified by the group. Results provide insights into knowing, naming, and framing a set of core teaching practices and offer a common technical vocabulary that music teacher educators might use as they design curricula and activities to develop these foundational skills.

Music Education in P-12 Schools to Learn From Each Other

2020 ◽  
pp. 176-196
Keyword(s):  
Social Interaction ◽  
Social Context ◽  
Music Education ◽  
Teaching And Learning ◽  
Music Teaching ◽  
Community Members ◽  
Music Learning ◽  
Technical Aspects ◽  
K 12

This chapter describes cases of music teaching and learning from Pre-K-12 schools. As a trait of book, instead of focusing on how-to instruction and technical aspects of music teaching, the author puts a special emphasis on music learning in a social context. Both music and music education consist of social interaction among learners, teachers, and community members. This process is especially unique to music because we always learn from each other and perceive music in a shared sense. The author wishes you also learn from these cases and implement the idea of your practice for students to learn from each other.

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