Effects of Camera Placement on Undergraduates’ Peer Teaching Reflection

We investigated whether camera placement affects peer teachers’ focus of attention during reflection. Preservice music teachers ( N = 14) reflected on peer teaching videos that had been recorded simultaneously from a head-mounted camera and a tripod-mounted camera at the back of the classroom. Participants completed the teaching reflection cycle twice, providing their observation comments in response to open-ended prompts. Responses were coded, with a single sentence as the unit of analysis, and a three-way repeated measures analysis of variance (ANOVA) revealed a significant difference in comment frequencies according to comment type (student-focused or teacher-focused) but not according to camera placement or trial. Our results corroborate previous research indicating that undergraduate peer teachers focus more on themselves than on their peers, and suggest that placing the camera in a position that shows the students, rather than the teacher, does not seem to affect this tendency. We discuss the implications for peer teaching experiences in teacher education courses.

“I’m Doing the Best I Can”: Teaching General Music in the Time of Covid-19

The purpose of this multiple case study was to examine the experiences of four elementary general music teachers (first year, early-career, mid-career, late-career) during the time of COVID-19. We considered impacts on the participants’ instruction and professional lives from data that were collected throughout the 2020–2021 academic year. Participants reported changes to their teaching environments, schedules, and job responsibilities. They shared the technology resources they implemented and highlighted inequities that emerged for virtual versus in-person students. Participants provided insight into the impacts of the year on their personal lives as well. Our implications include considerations for music teachers, music teacher educators, and school administrators as a result of participants’ experiences.

The problem of stage culture in amateur vocal-instrumental group

The purpose of the article. The aim of the article is to identify and reveal aspects of the development of amateur vocal art, the qualities of a musician and teacher who are aware of the values of artistic action and fully immerse, perceive, feel and immerse themselves in the content of works. The urgency of the problem is due to the fact that the training of future musicians and teachers should be based on their competence and awareness, which will lead to the quality professional training of amateurs in vocal and instrumental groups who will have fundamental abilities and master the art of seeing, creating and feeling. Methodology. Leading methods of research of this problem are methods of analysis, synthesis, comparison, and historical comparison, which will help to recognize the features and professional competencies and skills that make up the stage culture of an individual member of an amateur folk group, revealing issues from a broader paradigm to narrower and clearer understanding systems. Scientific novelty. The article reveals and substantiates the essence of the concept of "stage culture", current trends in vocational training, considers the theoretical foundations of this set of qualities, its impact on teaching and the gradual formation of structural components of the phenomenon, its relationship with amateur and folk vocal and instrumental teams; components of stage culture, ways of its formation in artists and its influence on folklore and folk art are revealed. Conclusions. The materials of the article are of the practical and theoretical value for students, future teachers, music teachers, artists, vocalists, and other artists who are engaged in professional and personal self-development and want to have such an integrated quality as stage culture that will significantly improve their abilities and skills. will contribute to the success of music and pedagogical work in schools and independent creative activity. Keywords: folk groups, musician, art, traditions, folklore, pop and stage sphere.

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

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.

Exploring Key Competencies and Professional Development of Music Teachers in Primary Schools in the Era of Artificial Intelligence

Artificial intelligence (AI) has introduced new era elements to the connotation of key competencies and professional development of music teachers in primary schools. The education management department in the AI era has flawed systems for the professional development of music teachers in primary schools. To assist music teachers in primary schools fulfill the development needs of the development of the times and enhance the quality of music education in primary schools, the status and income of music teachers in primary schools warrant improvement, and the system should be upgraded to promote the implementation of key competencies. Moreover, the related system construction of music teachers in primary schools should be reinforced by rationally arranging teachers, workload and creating a teacher learning community, in order to guide schools to provide a suitable environment for teachers, key competencies and professional development. Furthermore, methods like strengthening teachers, awareness of independent development and augmenting professional identity should be adopted to prompt teachers to comprehensively enhance their key competencies and professional development.

Pedagogic model of professional training of future music teachers in higher education

The article represents the study of professional training of future music teachers’ preparation. The article is paid attention on analysis of the concept of “professional training” and using innovative integrical technologies, projective technologies and art management technologies. The multi-aspect nature of this phenomenon is shown. The system of professional training, pedagogic model and characteristics of types of training in musical education and results of scientific research are presented. The article shows a modern view of the problem of training future specialists in the educational field of music preparation, where professional training is described as a process aimed more at the formation of knowledge, skills and abilities and the special course “Basic of art management” is presented. Special emphasis is placed on necessity of deepening into projective art-creative activity, presentation and implementation creative projects. In conclusion, the author emphasises the perspective of the “pedagogic model of professional training of futurе musіс tеасhers” tаkіng іntо ассоunt the specifics of professional activity in this field and using innovative pedagogic technologies.