Emotional Competence Within the Stress Coping Strategies of Music Education Students

Researchers have identified high levels of stress among music education students, but we know very little about how students manage this stress and how emotional competence skills might be utilized within stress coping mechanisms for this population. Through this qualitative study, we sought to understand the stress coping strategies of eight music education majors through the lens of emotional competence as outlined by Saarni. We identified several sources of participants’ stress: general life stress, schedule, performance expectations, and coursework. Student coping strategies included awareness of stress, an attitude of pushing through, self-care, and seeking support. Through coding and utilization of the theoretical framework, we concluded that all eight of Saarni’s emotional competence skills were evident in the data as a whole, but not for each individual participant. Minimal evidence was found for half of the skills and for some students they were nonexistent, thus indicating a need for growth in emotional competency. Gaining an understanding of how music education majors cope with their stress could be a key step toward understanding how to better support students throughout their degree programs and as they transition into the field of music education.

Effects of Music Self-Perception on Music Education and Nonmusic Majors’ Ensemble Participation

In this study, I examined the relationship between undergraduate music education and nonmusic education majors and their music self-perception, or how they perceived themselves as musicians. A secondary purpose of the research included investigating the relationship between music self-esteem, gender, concentration, year in school, and continued arts participation. Participants ( N = 66) were music education and nonmusic education undergraduate volunteers from one band, one chorus, and four music education classes at a large, public university in the Northeastern United States. The participants completed a shortened version of Schmitt’s Self-Esteem of Musical Ability Scale, along with questions about gender, ensemble participation, major, and instrument. Results indicated no significant difference between music self-esteem in music education majors and nonmusic education majors who participated in college ensembles. There were significant differences in music education majors’ comparison of themselves to their high school peers, self-comparisons over 1 year, and planned future ensemble participation. More years of experience in ensembles predicted higher Schmitt’s Self-Esteem of Musical Ability Scale scores.

Singing with awareness: A phenomenology of singers’ experience with the Feldenkrais Method

Though methods of somatic education such as the Feldenkrais Method are becoming more widely recognized as complementary approaches in vocal and choral pedagogy, there is little research that examines the experiences of singers who participate in such mind–body approaches. With the intent of exploring pedagogical implications of somatic education in music education, the purpose of this phenomenological study was to examine the experiences of undergraduate vocal music education majors enrolled in an elective, 7-week Feldenkrais course. Specifically, how do singers describe in their participation in Feldenkrais Awareness Through Movement lessons, and how do these experiences inform their understanding of how they sing? Data were gathered from questionnaires, weekly journals, and semi-structured interviews. Phenomenological data analysis following Moustakas’s approach revealed three themes reported as textural and structural descriptions: (a) improved quality of movement, (b) heightened awareness of singing, and (c) enhanced practice. The overall essence of participants’ experience may be summarized as a process of self-discovery that provided individualized benefits for singing. Discussion includes pedagogical implications of somatic teaching and learning in PreK through university contexts as well as suggestions for future research.

Professional identity development of preservice music teachers: A survey study of three Chinese universities

By 2019, over 70,000 undergraduates had been awarded bachelor’s degrees in music education under the Free Education for Students in Teacher Education Programme in China. Although this helped to relieve a severe shortage of music teacher supply, recent studies reported serious concerns regarding the career readiness of this population. The purposes of this study were to (a) provide a role-identity profile of 4th-year undergraduate music education majors in China, (b) identify key elements in their professional identity development (PID), and (c) explore whether these elements were different from those identified in research findings in other education systems. Survey data were collected from 1,321 music education students in three Chinese universities for content analysis. The results suggest that occupation-oriented external factors are the most influential source in career decision-making. Most participants are struggling with multiple professional identity shifts that combine music trainee, teacher trainee, and preservice teacher roles across degree programs. These present the complexity of identity development in policy-reinforced professionalism in the Chinese education system.

Early childhood fieldwork for music education majors

Fieldwork experiences for undergraduate music education majors provide opportunities to gain pedagogical content knowledge as well as a deeper understanding of child development and musical behaviour. Early childhood music fieldwork experiences are vital to preservice music educators in order to gain insight into the specific needs of young learners and increase preparedness to teach in a variety of musical settings. Critical examination of the fieldwork opportunities provided to undergraduate music education majors in the early childhood music setting could benefit all preservice music educators. This article will describe one early childhood fieldwork placement and its impacts on the preparation of three undergraduate music education majors. Implications related to the importance of early childhood music education fieldwork experiences for preservice music educators are discussed.

Music Therapy Knowledge and Interest: A Survey of Music Education Majors

Music teachers play an important role in exposing students to career options in the field of music. As a result, there is a need to explore music education students’ interest in and knowledge of music therapy. The purpose of this study was to investigate music education students’ exposure to, knowledge of, and willingness to promote music therapy as a career option for prospective collegiate students. A survey was given to 254 music education majors from four research institutions, two with and two without music therapy degree programs. Participants answered demographic, yes/no, Likert-type scale, and open-ended questions about their exposure to, knowledge of, and willingness to promote careers in music therapy. Results indicate that exposure to music therapy occurred in both pre-collegiate and college settings, and that music teachers appear to be influential in exposing students to music therapy. Students often sought out information on music therapy independently, which played an important role in how individuals learned about music therapy, though it has the potential of providing misinformation. Significant differences were found in participants’ knowledge and willingness to promote music therapy as a career option based on the presence of music therapy degree programs. Exposure seemed to be a key factor in music therapy knowledge and promotion; thus, music therapists need to ensure accurate dissemination of music therapy-related information in both pre-collegiate and college settings. Increasing the visibility of the field has the potential to expand interest and potentially attract young musicians well suited for a career in music therapy.

Perceptions and Preparedness: Preservice Music Educators and Popular Music Teaching Skills

The purpose of this study was to examine the perceptions of undergraduate music education majors regarding the skills needed to teach popular music classes, and their comfort level with those skills. Preservice music educators ( N = 81) completed a researcher-designed questionnaire describing their previous experiences with popular music, their perceptions of necessary teaching skills for popular music instruction, their comfort level with those skills, and their overall feelings of preparedness to teach popular music. Respondents rated the teaching skills of ear training, piano/keyboard, and informal learning practices as most important. In addition, respondents indicated that they were most comfortable with the teaching skills of singing, music theory, and informal learning practices. In general, respondents felt moderately prepared to teach popular music, but many believed they were lacking important knowledge and skills, including proficiency on various instruments, understanding how to integrate popular music, and music software proficiency. Implications for music educators are discussed.

Creative Musical Activities in Undergraduate Music Education Curricula

Music education majors report low exposure to creative musical activities (CMAs) despite increased discourse surrounding the inclusion of CMAs in standards, curricula, publications, and practice. The purpose of this study was to compare preservice music teachers’ (PMT) and music teacher educators’ (MTE) experiences with CMAs. We used an anonymous survey instrument to explore definitions, perceived importance and preparedness, and the incorporation of CMAs within undergraduate music education curricula. MTEs and PMTs valued the inclusion of CMAs in preK–12 curricula, PMTs felt most prepared to teach arranging and least prepared to teach composing with their future preK–12 students, and PMTs valued and desired more opportunities to practice CMAs in undergraduate curricula. MTEs should consider integrating these activities as regular components in undergraduate music curricula.

Music education students’ intrinsic and extrinsic motivation: A quantitative analysis of personal narratives

In this study, I sought to identify the characteristics of musical experiences that contribute to young musicians’ motivation for musical engagement. A comprehensive review of the literature produced 15 characteristics in three broader categories of contextual, process, and affective characteristics. These formed the basis of the coding scheme used in a content analysis of narratives provided by 102 music education majors. Participants wrote two narratives: one about an intrinsically motivated musical activity and one about an extrinsically motivated activity. The resulting narratives were coded according to whether they showed each of the 15 characteristics. The work of a second coder indicated that the coding had very high reliability. The content analysis offered several important findings. The characteristics supporting intrinsic motivation were varied and multi-layered. They included Enjoyment, Social connection, Expression, Learner-directed/autonomy, Creativity/experimentation, and Identity. In contrast, the characteristics of extrinsically motivated activities were more simply—and sometimes even singularly—supported, and they emphasized Virtue/value and Achievement. Subsequent analyses and discussion focused on instances in which characteristics more associated with intrinsic motivation appeared in narratives about extrinsically motivated activities, and vice versa.

Experiences of LGBTQ+ Students in Music Education Programs Across Texas

We examined the experiences of 95 lesbian, gay, bisexual, transgender, and queer (LGBTQ+) music education majors, along with 39 heterosexual allies, who were student members of the Texas Music Educators Association. Participants addressed curricular practices and institutional factors that lend themselves to LGBTQ+ inclusion and safety among students, faculty, and staff. We collected data through an anonymous online survey, which included questions related to LGBTQ+ students’ experiences in their programs and across campuses. Five students participated in follow-up interviews designed to provide more in-depth information about their classroom experiences and campus-level actions taken to promote systemic change. Through multivariate analyses, as well as content analysis of the qualitative data, we found that although preservice music teachers in Texas feel accepted and supported in their music teacher education programs, they are entering the field feeling underprepared to address LGBTQ+ issues and support students who identify as such.