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1
Ballantyne, Julie. „Effectiveness of Preservice Music Teacher Education Programs: Perceptions of Early-Career Music Teachers“. Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16074/1/Julie_Ballantyne_Thesis.pdf.
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The quality of teaching occurring in schools is directly linked to the quality of preservice preparation that teachers receive (Darling-Hammond, 2000). This is particularly important in the area of music teacher education, given the unique challenges that classroom music teachers commonly face (Ballantyne, 2001). This thesis explores early-career music teachers' perceptions of the effectiveness of their preservice teacher education programs in Queensland. It also explores influences impacting upon early-career music teachers' perceptions of effectiveness and early-career music teachers' perceived needs in relation to their preservice preparation.
The study addresses the research questions through the use of questionnaires and semi-structured interviews. In Stage 1 of the research, questionnaires were completed by 76 secondary classroom music teachers in their first four years of teaching in Queensland, Australia. In Stage 2 of the research, 15 of these teachers were interviewed to explore findings from the questionnaire in depth.
Findings suggest that preservice teachers perceive a need for teacher education courses to be contextualised, integrated and allow for the continual development of knowledge and skills throughout their early years in schools. This research provides an empirical basis for reconceptualising music teacher education courses and raises important issues that music teacher educators need to address in order to ensure that graduates are adequately prepared for classroom music teaching.
2
Ballantyne, Julie. „Effectiveness of Preservice Music Teacher Education Programs: Perceptions of Early-Career Music Teachers“. Queensland University of Technology, 2005. http://eprints.qut.edu.au/16074/.
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The quality of teaching occurring in schools is directly linked to the quality of preservice preparation that teachers receive (Darling-Hammond, 2000). This is particularly important in the area of music teacher education, given the unique challenges that classroom music teachers commonly face (Ballantyne, 2001). This thesis explores early-career music teachers' perceptions of the effectiveness of their preservice teacher education programs in Queensland. It also explores influences impacting upon early-career music teachers' perceptions of effectiveness and early-career music teachers' perceived needs in relation to their preservice preparation. The study addresses the research questions through the use of questionnaires and semi-structured interviews. In Stage 1 of the research, questionnaires were completed by 76 secondary classroom music teachers in their first four years of teaching in Queensland, Australia. In Stage 2 of the research, 15 of these teachers were interviewed to explore findings from the questionnaire in depth. Findings suggest that preservice teachers perceive a need for teacher education courses to be contextualised, integrated and allow for the continual development of knowledge and skills throughout their early years in schools. This research provides an empirical basis for reconceptualising music teacher education courses and raises important issues that music teacher educators need to address in order to ensure that graduates are adequately prepared for classroom music teaching.
3
Johnson, Sherry Anne. „High-school music teachers' meanings of teaching world musics“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22326.pdf.
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4
Cain, Timothy. „Mentoring trainee music teachers“. Thesis, University of Southampton, 2006. https://eprints.soton.ac.uk/192637/.
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This study analyses the relationships between Secondary school music trainee teachers and the mentors who are primarily responsible for training them to teach music. The methodology was an in-depth collective case study of a sample of trainee music teachers and their mentors, adopting primarily the methods of non-participant observations and interviews. The study is located within a review of pertinent theories of mentoring and an analysis of empirical research. This analysis compares studies of ITT mentoring in different contexts, and demonstrates that, despite the diversity of mentoring practice, research has produced findings which are consistent across two or more studies. The collective case study consists of five individual cases ofmentoring relationships, each of which is presented so as to preserve its individuality. The talk in meetings between trainees and their mentors is then analyzed drawing on Mercer's (1995) typology of classroom talk as exploratory, cumulative and disputational. The analysis shows that exploratory talk has an underlying structure which is missing in cumulative and disputational talk. Analysis ofthe talk also reveals three further types of conversation between mentors and their trainees which are characterised as solo conversations, short conversations and parallel monologues. The study has two major conclusions: first, that in mentoring conversations exploratory talk is more likely to promote productive reflection than other types of talk, and second, that the potential for exploratory talk to promote reflection may not be fully realised by music mentors.
5
Mason, Lindsey Lea. „Teacher Communication in Title I Elementary Music Classrooms: Perceptions of Elementary Music Classroom Teachers“. Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407827/.
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The increasing cultural diversity in the United States has brought not only richness, but also complex challenges, to various segments of American society, particularly with regard to public schools. As the student population continues to diversify while teacher population remains predominately White, female, and middle class, teacher awareness in the classroom might be an integral piece to assist students marginalized by stereotypes in feeling more empowered in the school community. Through qualitative data collection and analysis, and framed by Basil Bernstein’s language code theory, this study explored teachers’ perceptions of how classroom interactions, in light of differences in communication, might impact students of different socio-economic backgrounds from the teacher. The findings of this study indicated that the participants expressed a desire to connect with all of their students, regardless of their background. They also discussed challenges that made relationships difficult, such as feelings of disconnect from their Title I students and their families based on differences in home life and background. This dissonance was often difficult for the participants to reconcile due to pressures and difficulties in their teaching situations, such as the large number of students and the scheduling of classes, curricular pressures, and other district expectations such as after-school ensembles. Implications for practicing music teachers and teacher education include ways to understand students’ communities and rethinking ways of approaching relevant terminology in education.
6
Cusano, Janice M. „Music specialists' beliefs and practices in teaching music listening /“. Electronic version Electronic version, 2004. http://wwwlib.umi.com/dissertations/fullcit/3209909.
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Thesis (Ph. D.)--Indiana University, 2004.Computer printout. Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0878. Adviser: Mary Goetze. Includes bibliographical references (leaves 205-223), abstract, and vita.
7
Owen, Remington Carson Harrison. „Finding The Gaps: Lecturers' Perceptions on the Preparedness of Preservice Music Teachers“. Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21579.
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This thesis provides views of lecturers directly involved in the training of preservice music teachers, views previously absent from research. The scope of data collected included lecturers’ perceptions of particular strengths and weaknesses in preservice music teachers, factors that lecturers attribute weaknesses to, how gaps in knowledge and skills can be addressed, gaps within initial music teacher education programs and how to address those gaps within programs. Interviews were conducted with 7 lecturers across Australia who are directly involved in a tertiary music education program. Whilst lecturers speak from a variety of institutions, each with different structures and elements that affect their initial music teacher education programs, trends were identified. The findings suggest that lecturers perceive preservice music teachers to be passionate, however, lacking in general music knowledge and skills. Gaps in knowledge and skills are largely due to elements that are out of the control of the lecturers, who outlined strategies for how they best prepare music teachers, within the existing limitations. This research identifies issues that impact the ability of lecturers to prepare music teachers across Australia, and raises important issues that initial music teacher education programs need to address when considering how to best train music teachers.
8
Young, Sharon M. „Music teachers' attitudes, classroom environments, and music activities in multicultural music education /“. The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu148794066543544.
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9
Durst, Melissa Anne. „Assessment of Ohio Music Teachers: Challenges and Implications“. University of Dayton / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1335757438.
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10
Holmes, Ivan. „Studio music teachers and public music examinations : the quality interface“. Thesis, James Cook University, 2006. https://researchonline.jcu.edu.au/1834/1/01front.pdf.
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The research focuses on quality issues within the private music teaching
industry and the public music examination system (PMES).
It is clear that there is a schism between the formalized structures and
accountabilities of music in the school system and the lack of such structures
and accountabilities with the private studio music teaching industry. The
Thesis traces the literature documenting the rise of the private music teacher
and the accountability rationale implicit in the development of the public
music examination system. The dual aims of the research focus on the need to
profile the private music teaching industry in Australia and to probe the extent
to which the public music examination system might, in practice, afford a
window of accountability on to this industry.
The literature foregrounding this study derives from three areas: the historical
development of the private music teaching industry; the concomitant need for
certification - and the resultant development of the public music examination
system; finally the issue of performance assessment across the relevant
disciplines is explored to provide research direction for music.
A limited profile of the private music teacher emerged from the first phase of
the study. While the respondent sample was smaller than was originally
envisaged, comparison with other studies (e.g., Gibbs 1999) suggested that the
findings from the current study were consistent. The second phase focussed
specifically on the public music examination system and its tangible outcomes
in the form of the examination report.
Five examiners were male and three female. Reports were analyzed in terms
of the relevant examination sections with a primary focus on the Technical and
Performance lists sections. In each section reports were segmented into idea
units as the basic unit for analysis. Categories were derived from the data and
each idea unit was categorized accordingly. Examiners’ use of categories was
analyzed in each section and comparisons made between examiners.
Considerable examiner variability was identified.
A discussion of gender differences in accessing categories generates
hypotheses for further research. Discussion of marks awarded by examiners
leads to hypotheses about the implications of exposure to one examiner rather
than another.
While this is but a small scale study and possibly the first in the music genre,
its implications for further research are far-reaching. Implications for the
discipline are also explored.
11
Holmes, Ivan. „Studio music teachers and public music examinations : the quality interface“. James Cook University, 2006. http://eprints.jcu.edu.au/1834/1/01front.pdf.
Der volle Inhalt der QuelleAnnotation:
The research focuses on quality issues within the private music teaching
industry and the public music examination system (PMES).
It is clear that there is a schism between the formalized structures and
accountabilities of music in the school system and the lack of such structures
and accountabilities with the private studio music teaching industry. The
Thesis traces the literature documenting the rise of the private music teacher
and the accountability rationale implicit in the development of the public
music examination system. The dual aims of the research focus on the need to
profile the private music teaching industry in Australia and to probe the extent
to which the public music examination system might, in practice, afford a
window of accountability on to this industry.
The literature foregrounding this study derives from three areas: the historical
development of the private music teaching industry; the concomitant need for
certification - and the resultant development of the public music examination
system; finally the issue of performance assessment across the relevant
disciplines is explored to provide research direction for music.
A limited profile of the private music teacher emerged from the first phase of
the study. While the respondent sample was smaller than was originally
envisaged, comparison with other studies (e.g., Gibbs 1999) suggested that the
findings from the current study were consistent. The second phase focussed
specifically on the public music examination system and its tangible outcomes
in the form of the examination report.
Five examiners were male and three female. Reports were analyzed in terms
of the relevant examination sections with a primary focus on the Technical and
Performance lists sections. In each section reports were segmented into idea
units as the basic unit for analysis. Categories were derived from the data and
each idea unit was categorized accordingly. Examiners’ use of categories was
analyzed in each section and comparisons made between examiners.
Considerable examiner variability was identified.
A discussion of gender differences in accessing categories generates
hypotheses for further research. Discussion of marks awarded by examiners
leads to hypotheses about the implications of exposure to one examiner rather
than another.
While this is but a small scale study and possibly the first in the music genre,
its implications for further research are far-reaching. Implications for the
discipline are also explored.
12
Petersen, Jr Gerald Anthony. „Factors Contributing to Arizona Elementary General Music Teachers' Attitudes and Practices Regarding Multicultural Music Education“. Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1109%5F1%5Fm.pdf&type=application/pdf.
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13
Gohlke, Linda J. „The music methods class : acquisition of pedagogical content knowledge by preservice music teachers /“. Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/11208.
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14
Fordice, Billy Donald. „Exploring wholeness in music teachers' lives“. Thesis, Boston University, 2013. https://hdl.handle.net/2144/10993.
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Thesis (D.M.A.)--Boston UniversityThis qualitative research explored how the retelling of a life story influenced teachers' self-understanding. Informed by the disciplines of psychology, anthropology, and philosophy I constructed a conceptual framework of life as a continuous narrative, reflected and focused by past and anticipated experiences. This framework was informed by Dewey's concept of continuous flowing life experiences, Bakhtin's understanding of the dialogic nature of those experiences, Husserl's explanation ofthe role of memory in that experiential dialogue and Bruner's writings regarding life-as-narrative. Through this lens, the potential for wholeness of identity was explored by making visible the connections between past and present life experiences and observing how each impacts understanding of the other. Using the narrative inquiry method, life-story interview, the researcher wrote guided autobiographies with three music teachers. Individual interviews with participants were conducted, facilitating their storytelling. From these interviews, each participant's life story was written in his or her own words. Interpretations from theories that arose from their stories were offered. Viewed through Bruner's metaphor of participants' canons (how they believed the world was) and exceptionalities (the ways their lives grew away from their canons), the research suggested that each lived experience informs and reframes another, making the aim not reconciliation, but accepting that the process of becoming is one's Self, and that our identity is not found in an event, or an understanding, but a continuous act of invention and discovery. Among conclusions was the importance of life reflections as a continuing tool in music teacher personal and professional development. Specific implications for music educators, music teacher educators and for future research were also discussed.
15
Fiorillo, Risa Maree. „Music handbook for primary grade teachers“. CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/1739.
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Academic research in the area of music and learning has proven that there is both a deficiency and need for classroom music education commencing at the primary grade levels. The research has shown that by incorporating music education into the academic curriculum the arts can be more effectively taught and other academic subject areas can gain from the diverse teaching strategies the arts bring to education. There are two goals of this project. One is to demonstrate to teachers what primary grade level students should be learning in music. A second goal of this project is to design a music education handbook for primary teachers that can serve as a basis for intergrating music into the curriculum. This handbook takes into consideration the general lack of sufficient teacher training in music instruction, along with teaching time constraints, and potential roadblocks, such as the acquisition of music and instrumental supplies.
16
Junda, Mary Ellen. „The development of a model inservice teacher education program in music sight reading methodology /“. Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10936695.
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17
Posegate, Stephen C. 1954. „Changes in interns and cooperating teachers during music student teaching“. Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10341.
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xiv, 143 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.This descriptive study collected both qualitative data and quantitative data to gain an increased understanding of changes in interns and cooperating teachers during student teaching in music. Five dyads consisting of an intern and a cooperating teacher participated. I gathered quantitative data through analysis of 20 videotaped teaching episodes: one of each intern and cooperating teacher at the beginning and near the end of each placement. Two recognized experts in music student teaching viewed the episodes in randomized order. The experts scored the episodes on 30 items using the Survey of Teaching Effectiveness (STE). The experts also gave an overall rating of each lesson's quality. Additionally, I tallied statements of reinforcement as either specific or nonspecific and as either statements of approval or disapproval . An additional category was found during analysis: nonfunctional communication . I gathered quantitative and qualitative data with a one-page demographic survey and by individual interviews. Though the participants were unanimous in stating that the interns improved as teachers during the placement, no quantitative differences were found. Interns all experienced fulfilled expectations, effective preparation, capable application, increased professionalization, and successful induction. Cooperating teachers were agreed that their interns came into the placement prepared to be successful in student teaching.
Committee in charge: Harry Price, Chairperson, Music; Sharon Paul, Member, Music; David Doerksen, Member, Music; Roland Good, Outside Member, Special Education and Clinical Sciences
18
Sieger, Crystal Anne. „Identity Perceptions of Music Performance/Music Education Double Majors: A Qualitative Study“. Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/268353.
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Undergraduate students who double major in music performance and music education often face issues with identity perception unlike those of their single-major counterparts. As they simultaneously develop both identities, double majors cope with additional challenges as they determine who they are and who they hope to become. Some easily adapt to both identities--incorporating values of both majors to create a well-rounded persona--while others struggle to find balance between the two identities. The purpose of this study was to investigate the early stages of performer-teacher identity by examining double majors in various stages of their programs of study who aspire to become a performer and music educator. Using individual and focus-group interviews and e-mail prompts, I investigated the experiences of five undergraduate students majoring in music education and music performance. Participants were asked to describe influences that led them to the double major. They were also asked to consider which of their majors they felt to be more prominent, and how they intended to utilize each major in their future. Participants also described qualities of ideal performers and teachers. They responded to questions regarding training received and perceptions of superiority and inferiority within the school of music. Six themes emerged from the analysis. I found that participants were enveloped in varying degrees of blended musician identity depending on the length of their experience. Participants had been socialized primarily by family and teachers, and secondarily by applied professors and practical experiences. They felt most like performers or teachers when involved in hands-on experiences, and those experiences that were considered in real-life situations were the most helpful in identity development. Participants expressed concerns regarding heavy workloads and their ability to develop adequate skills for success. I also discovered a tendency of participants to cater to the perceptions of those within their environment. Concern for the opinions of others often led to a superiority/inferiority conflict between performance majors and music education majors both within and across applied studios. Implications for music school faculty and music students are included.
19
Ciotti, Paul Joseph. „A comparison of music teachers' perceptions of individual efficacy in school districts with and without a district music coordinator with Anderson (1986) /“. Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11169618.
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Thesis (Ed.D.) -- Teachers College, Columbia University, 1991.Typescript; issued also on microfilm. Sponsor: Lenore Pogonowski. Dissertation Committee: Robert Pace. Includes bibliographical references (leaves 92-93).
20
Pelletier, Christina L. „The Learning Communities of Exemplary Mid-Career Elementary General Music Teachers“. The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365004386.
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21
Holmberg, Susan D. „Music teachers’ perceptions: the role of music education in early literacy“. Diss., Kansas State University, 2010. http://hdl.handle.net/2097/4635.
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Doctor of PhilosophyCurriculum and Instruction Programs
Jana R. Fallin
In the wake of No Child Left Behind Act (U.S. Department of Education, 2006), educational reforms focused on providing students with effective systematic instruction in reading skills have become a nationwide concern. Report findings from the National Reading Panel (National Institute of Child Health and Human Development, 2000), indicate the establishment of a high quality comprehensive reading curriculum must include the five key components of phonemic awareness, phonics, fluency, vocabulary, and comprehension to improve reading achievement. These essential elements, with emphasis on phonemic awareness and phonics skills beginning in pre-kindergarten, are instrumental in the acquisition of early literacy development. The purpose of this qualitative study was directed toward better understanding first grade general music teachers’ perceptions of the role of music education in the attainment of early literacy. Using a multi-site case study design to examine and present an analysis of nine public elementary school music educators from across a Midwestern state, each of which used one of the three elementary general music series currently published, resulted in this collective case study. Data indicated parallels focused on the five key reading components between music and language literacy development processes, with particular emphasis on aural discrimination skills to phonemic awareness. Further findings described the sequential sound before symbol pedagogical practice of music literacy development from the perspective of the nine general music educators to be similar to early reading skills progressions, as they experienced equivalent learning processes. Implications for the educational community and suggestions for further research were discussed.
22
Cook, Andrew S. „A poststructural investigation of music teachers and music education in film“. Thesis, Boston University, 2013. https://hdl.handle.net/2144/10970.
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Thesis (D.M.A.)--Boston UniversityAs popular texts that circulate widely, films contribute to the way groups, individuals or ideas are understood in society. In this study I sought to explore the portrayals of music teaching in Hollywood movies, and examine the ways films might contribute to the occupational identity of music teachers. This investigation focused on four films that feature music teachers as major characters and that demonstrate a prevalent position in public consciousness as indicated by commercial success: Mr. Holland's Opus (1995), Music of the Heart (1999), Drumline (2000) and School of Rock (2002). I employed two poststructural approaches to analysis which view meaning as plural, negotiated and produced primarily by the reader's encounter with the text. One reading uses Derrida's project of deconstruction to focus on aporias, or paradoxes, and assumptions upon which texts make claims of truth. Aporias of responsibility, hospitality and the gift serve as lenses through which I investigate issues of professionalism, access and the image of the hero-teacher within music education. A second reading uses an intertextual approach to film analysis, acknowledging that texts derive meaning in part from their association and communication with other texts. Using related films, texts from popular culture and movie reviews, I investigate how these films construct images about gender, race and the value of music in schools. Exploring possible dominant, negotiated and contrary readings of these film texts, I look at a variety of possible interpretations and suggest ways that the films might be used by teachers and pre-service teachers to better understand expectations that people carry with them into the music education environment. As films may be used as sources for common-sense understandings in society, I explore how these films may act as structures to the agency of music teachers and how the negotiation of these portrayals might impact the music education environment.
23
Burgess, Frances Anne. „Narratives of women music teachers in Northern Ireland : beyond identity“. Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24328.
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This study examined the narratives of three women music teachers’ professional practice, drawing on the research question: Through examining processes of subjectification: (a) How do mid-career women music teachers construct narratives of their professional and musical practice? (b) What are the implications for women music teachers’ professional and musical sustenance? Participants Hayley, Becky and Lynne, all with 12 years teaching experience, told stories of diverse musical participation within and beyond their schools and within a range of social groups and institutional settings. Taking a post-structural feminist theoretical perspective, these narratives were viewed as 'technologies of the female self' (Foucault, 1988; Tamboukou, 2008, 2010). The research question was shaped and answered through the concept of subjectifcation and considered how these women constructed a portrait of ‘self-in-practice.’ This questioned how they fashioned their personal pedagogical approach, how they created and projected a music departmental identity within the school, and how they conceptualised their musical and teaching selves. Data collection took place over a seven-month engagement with three participants and involved: a narrative/biographical interview; the compilation of a ‘memory box’ in which participants gathered artefacts related to the theme, ‘My music, my teaching’; and a follow-up conversational interview. In the final interview participants presented their artefacts and told stories related to their gendered experiences in music and teaching. Narratives showed the ‘woman music teacher’ is a site of struggle, where material roles within different discursive fields such as the home, the community as well as the school, pulled at other subjectivities. Through an analysis of processes of gendered subjectification, these women music teachers presented a complex narrative of their professional lives, within discursive fields of competing and complementary institutional discourses. While individually teachers conceptualised their musical and teaching subjectivities in personal, biographically-shaped ways, collectively they used similar discursive strategies to create a music subject department identity. They all told stories of their practice sustained by moments of ‘musical space’ and enabling others. Extra-curricular music provided valued moments of musical and aesthetic gratification and professional autonomy, functioning as a way to project the standing of the music subject department in the school and the local community, but this also added to an already burdensome workload. The education system in Northern Ireland is undergoing a prolonged yet stilted process of reform, and with the increase in the collaborative sharing of curriculum with other schools, it is likely that in the future secondary music teachers will be teaching in very different circumstances. This may be particularly challenging for established music teachers who have worked to create musical worlds in their subject departments drawing on personal and affective biographical resources. It is suggested that identity work with teachers’ narrative understandings of their self-in-practice, as a form of professional development, may allow space for teachers to imagine and negotiate alternative personal/professional identities, values and beliefs within new managerial and collaborative structures.
24
Siebert, Johanna J. „Why music teachers remain in the profession : conversations with career music educators /“. Digitized version, 2007. http://hdl.handle.net/1802/5629.
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25
Dunmill, Merryn. „Secondary music teachers' content knowledge and skill bases : implications for teacher education“. Thesis, University of Canterbury. School of Educational Studies and Human Development, 1999. http://hdl.handle.net/10092/2095.
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This thesis investigates nine student teachers' pre-course, through-course, and postcourse beliefs about the teaching of secondary school music. The study considers the nine student teachers' own experiences and views, and bases the points of reflection around their contextual experiences in schools during their one year post-graduate course of study at the Christchurch College of Education. It examines the skills and knowledge bases that the selected cohort of student teachers and their respective associate (supervising) teachers view as being essential for effective teaching and learning to occur in the secondary music curriculum. It also compares these responses to the competencies stated in the Music Education course outlines for the Secondary Programme at the Christchurch College of Education. The Music Education courses were taught by the researcher, and so a critical action research approach was employed. The research method involved the student teachers in completing three questionnaires, one after each practicum experience. The questionnaires determined each student teacher's perceived confidence with specific course competencies. Changes during the course of study are discussed and individuals are compared. Each student teacher also participated in a semi-structured interview after each practicum where they reflected on their teaching experiences in more depth. At the end of the course, the student teachers shared their views and reviewed the Music Education courses within the context of a group video, and through written course evaluations. Associate teachers, who supervised individual student teachers during their teaching practices, commented on student teacher progress through written reports. Other local secondary music teachers participated in a questionnaire aimed at investigating connections in perception between the "expert' and the "novice" music teacher.
This thesis is based on a three dimensional conceptual model for teacher education: a
personal dimension, where the student teachers articulate their beliefs, backgrounds
and philosophies about music teaching and learning; a practical dimension, where
pedagogical content knowing is put into operation; and a political dimension, where
social, and cultural factors are considered in relation to their beliefs and practices.
Tensions between these dimensions are discussed and analysed.
Conclusions drawn, and recommendations made, focus on this construction of
professional knowledge through the convergence of personal and ecological
frameworks, and a vision for teacher education curriculum courses is given.
26
Ausmann, Stephen Wade. „Characteristics of in-service urban music teachers and pre- service music teachers in Ohio and their attitudes toward teaching music in urban schools /“. The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487687115923089.
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27
Gardner, Robert D. „The development of a theoretical model to predict retention, turnover, and attrition of K-12 music teachers in the United States : an analysis of the Schools and staffing survey and Teacher followup survey (1999-2001) /“. Digitized version, 2006. http://hdl.handle.net/1802/5828.
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28
Feay-Shaw, Sheila J. „The transmission of Ghanaian music by culture-bearers : from master musician to music teacher /“. Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11281.
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29
Lo, Ling-I. „Music education reform in Taiwan: beginning music teachers' perceptions of their teacher preparation at National Taiwan Normal University“. Thesis, Boston University, 2014. https://hdl.handle.net/2144/11121.
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Thesis (D.M.A.)--Boston UniversityThe purpose of this study was to investigate beginning music teachers' perceptions oftheir music teacher preparation at National Taiwan Normal University (NTNU) regarding the Arts and Humanities field of the Grade 1-9 Curriculum. Research questions focused on discovering the most and least effective components of undergraduate training at NTNU, identifying the missing components that might have helped beginning music teachers begin their profession more effectively, and having graduates involved in program improvement by presenting their recommendations. A descriptive analysis was conducted on the data received from 129 graduates from the music department ofNational Taiwan Normal University (NTNU). Of the 129 respondents, 69 took teacher education courses and were prospective music teachers. However, due to an overabundance of certified teachers in Taiwan, only 27 of the 69 graduates were able to obtain teaching positions. Beginning music teachers' experiences with student teaching, course content (Research in Music Teaching Materials and Methods), and applied music (voice), while in the teacher preparation program, helped prepare them to enter and be successful in the secondary music classroom. On the contrary, theoretical courses and advanced musicianship training were reported disconnected from the actual working experiences of beginning music teachers. The components which beginning music teachers expressed they wished had been taught in the undergraduate training program included teaching methods, classroom management, communication skills, knowledge of subject content (i.e., performing arts), music technology, and the theory of curriculum integration design and practice. In the hope of improving the shortcomings and linking the disconnections between training and work, beginning music teachers recommended the music teacher preparation program at NTNU increase the amount of coursework related to classroom realities, extend student teaching, provide more opportunities for classroom observations as well as professional development, and offer teacher education courses earlier in the program.
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Kindall, Smith Marsha. „Comparison of Arts PROPEL and teacher-directed approaches to teaching music education to preservice teachers“. Thesis, Boston University, 2002. https://hdl.handle.net/2144/33495.
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Thesis (Ed.D.)--Boston UniversityPLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
The goal of this study was to compare two approaches to teaching a combined music fundamentals/methodoloy course to preservice early childhood/elementary classroom teachers. The 25 subjects in the control group participated in a teacher-directed approach involving teacher explanation, student response, and teacher feedback. The 25 subjects in the experimental group participated in a student-centered Arts PROPEL approach involving strategies for production, perception and reflection. The two approaches were examined in terms of changes from the beginning to the end of the course in subjects' knowledge of music, their performance skills, and their attitudes about music education for children. The researcher was the instructor for both groups. Data were gathered from both groups using pre- to post Music Achievement Tests 1 and 3 (Colwell, 1969, 1970), Attitude Behavior Scale-Elementary General Music Survey (Tunks, 1973), and researcher-developed assessments based on the music sections of the National Standards for Arts Education (Consortium of National Arts Education Associations, 1994) including Reading and Notating, Personal Identification of Skills Scale, and Singing and Recorder Performance Assessments. Reflections and vision statements were used to clarify results of the analyses. Additional data gathered from the experimental group at the beginning, the middle, and the end of the course included Singing and Recorder Self-Assessments, Singing and Recorder Ensemble Rehearsal Critiques, and Peer Interviews. Findings showed significant improvement from beginning to end of course for both groups on reading and notating, instrument recognition, singing, attitudes and subject awareness of skills. There was borderline significant changes in interval discrimination in the experimental group and borderline significant changes in meter discrimination in the control group. Arts PROPEL experimental group subjects showed significantly greater improvement in reading and notating than did control group subjects. The Arts PROPEL approach showed no significant advantage over teacher-directed instruction in all other dimensions. Differences between approaches may be explained by the methodology, in particular, the use of domain projects in Arts PROPEL that require subjects to regularly self assess and report on their performances.
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Scherler, Kathy L. „Elementary music teachers instructing English language learners: Reflection on practice“. Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4933/.
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This qualitative study investigated four monolingual, English-only speaking Caucasian elementary music teachers and their reflections regarding instruction of English language learners (ELL). The purpose of this multiple case study was to investigate the teaching practice and curricular decisions of elementary music teachers who instruct Hispanic ELL students. The investigation was conducted during a nine-week period, and data collection included classroom observations, phenomenological interviewing, and teacher audio journals. None of the teachers had prior education or pre-service preparation in teaching music to ELL students. The major theoretical base from which the study was developed was the reflective teaching theory of Donald Schön (1983). The main research question was: "What are the participating teachers' reflections about their curricular and pedagogical decisions when teaching ELL students?" Following a description of the elementary music teachers' reflections on practice with ELL students, the study revealed that the majority of elementary music teachers had a lack of preparation and ELL music curriculum, and negative perceptions of the placement program for ESL students. Despite these factors, the teachers made attempts to include ELL students in all music activities. This study showed that while one teacher accommodated specifically for the ELL students' learning, three out of four teachers did not. This study also suggests that music is a subject by which strong interactions between peers, opportunity for language expansion, and other factors occur which have positive correspondence to recommended ELL instructional strategies. A cross-case analysis revealed that the life history and experience of the elementary music teachers had an influence on the teachers' awareness of ELL students. The analysis suggests a relationship between teacher awareness and accommodation. The study also recognized the need for further inquiry regarding ELL students and issues related to their school placement. This study has implications for music education research including suggestions for music teacher preparation in working with ELL students, ELL music resources and curriculum, and pre-service and in-service ELL music preparation.
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Wang, Miao, und 王苗. „Professional autonomy of music teachers in China“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45595847.
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Cocco, Brad J. „How Do Music Teachers Measure Student Growth?“ Ashland University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ashland1416567235.
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Robinson, Jennifer Anne. „A Study of Inspiring Australian Music Teachers“. Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/14158.
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This study explores the qualities of inspiring Australian music teachers. Beginning with a review of previous studies of teachers described as passionate, successful, effective and expert, the researcher explores the interpersonal interactions between music teachers and students to discover the inspirational element. The literature revealed few studies on inspiring music teaching world-wide, with no specific Australian study found. This qualitative, ethnographic study uses multiple case studies and employs the principles of narrative inquiry to analyse data. The participants are music teachers from New South Wales who have received the Australian Society for Music Education (ASME) Award for Excellence, and their students from five high schools across the greater Sydney metropolitan area. In addition, a group of nationally recognised music educators from four states of Australia were invited to participate. The study involved interviews with the teachers, educators (national treasures) and students as well as classroom observations. The results revealed six characteristics of inspiring music teaching: knowledge and passion, the importance of connection through Music, inclusivity and equity, relational capacity and trust, facilitating reflection and empowerment. Results also point to the need for further research to broaden the scope of the study. This research comes at an important time in education with a recent initiative from the New South Wales Department of Education and Communities being the ‘Great Teaching, Inspired Learning’ forum which seeks to prepare for student learning in the 21st century by aiming to develop teachers who will inspire their students. This research also has implications for those aspiring to become inspirational music educators.
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Meadows, Julie. „Music Teachers' Perceptions of Targeted Professional Development“. ScholarWorks, 2017. https://scholarworks.waldenu.edu/dissertations/3459.
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The fundamental purpose of teacher professional development programs is to improve instructional effectiveness and increase student learning. However, the target district offered no programs that focused on helping teachers develop strategies to meet state standards in music education. The purpose of this qualitative case study was to investigate elementary and middle school music educators' perceptions regarding the need for targeted professional development programs. Self-determination theory served as the foundation for this study. Research questions concerned participants' views of the impact of district professional development programs on their competency in enhancing students' musical skills and their decision-making and connectedness with other music education teachers. Participants included a unique purposeful sampling of 9 music educators. Data from individual questionnaire interviews, a focus group, and a reflective field journal were analyzed for key themes. These themes were relevant professional development, limited access to resources, and lack of time for music professional development. Participants perceived that effective professional development provided music educators with sufficient time to plan, network, and collaborate with one another and incorporated relevant resources. Based on these findings, a professional development workshop was designed to help music educators in developing a professional learning team. Targeted professional development programs, such as the one developed in this study, may help music educators increase student achievement, which may potentially result in positive social change.
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Meidinger, Valerie. „Multicultural music : attitudes and practices of expert general music teachers in Oregon /“. view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055699.
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Chan, Edmund Sze Shing. „Music teachers' concern of inclusive music teaching scale: development, validation and correlates“. HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/308.
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In view of the lack of an appropriate instrument to measure primary school music teachers' concerns about teaching music to students with special educational needs in inclusive classrooms in Hong Kong, this research intends to fill the research gap by developing and validating the Music Teachers' Concerns of Inclusive Music Teaching Scale (CIMTS) for addressing these concerns. Specifically, this study aims at: (1) Developing and validating the CIMTS, (2) Assessing its psychometric properties, (3) Exploring primary school music teachers' levels of concern about inclusive music teaching, and (4) Predicting their CIMTS scores with a number of psychological, personality, and environmental variables which are hypothesized to correlate with the CIMTS. Different methods with two samples of primary school music teachers were involved in the development, validation, and prediction of the CIMTS. Regarding development, sequential mixed method involving qualitative analysis was employed to generate, pilot-test, and refine the initial pool of question items. Concerning validation (N = 309), quantitative analysis using item analysis was conducted to evaluate and refine the CIMTS, assessing its internal consistency and construct validity. Specifically, Exploratory Factor Analysis, Confirmatory Factor Analysis, SEM estimation, and Multi-trait and Multi-method analysis were performed to establish evidence of convergent and discriminant validity. Referring to prediction (N = 224), hierarchical multiple regression analysis was conducted to examine if the chosen psychological, personality, and environmental variables in the hypothesized model were significant predictors of the scores on the CIMTS. Results indicated that the 25-item CIMTS possessed adequate evidence of validity as well as satisfactory reliability regarding the overall scale and its five factors (Learning Support, Learning Obstacle, Resource, Training, as well as Curricular Design and Assessment). While the level of primary school music teachers' concerns for the Resource factor was found to be the highest among the five factors, Openness-to-Experience and School Climate were shown to be the strongest predictors of their scores on the CIMTS in the hypothesized model. With the development and validation of the CIMTS, this research not only filled the research gap in inclusive music education, but also aroused policy-makers' and music educators' awareness of teachers' needs for formal training in special education and for resource allocated to inclusive music teaching. For future research, with addition of new items, the CIMTS could be expanded in its domain coverage, refined, and revalidated with different samples. Further exploration of possible correlates of the CIMTS should be pursued.
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Duncan, Sara Anne. „Assessment Practices of String Teachers“. Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/183.
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The purpose of this study was to explore string teachers? assessment practices related to string program success. Additionally, the study examined the relationship between teacher characteristics and string program success. This study was conducted by surveying string teachers (N = 201) from around the country. The survey was designed based on the independent variables of teacher characteristics and assessment practices, and the dependent variable of string program success. Results indicated that string teachers most frequently assess with teacher-given verbal criticism, rehearsal skills, attendance, teacher-rated rubrics, and student evaluations. The least common assessment practices used by string teachers were composition assignments, music history assessments, portfolio assessment, improvisation/creativity assignments, and cross-curricular assignments. String program success was correlated with the assessment practices of written assessments, student reflections, teacher-rated rubrics, sightreading skills assessment, student evaluations, music theory assessments, music history assessments, and portfolio assessments, and student rated rubrics. Years of teaching, level of education, musicianship-based assessment, and student-based assessments were predictors of string program success. String program success did not differ as a function of years teaching, however there is a difference in string program success within the characteristics of gender, education level, and primary instrument, as well as primary instrument by education level.
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Cox, Patricia Huff. „The Professional Socialization of Arkansas Music Teachers as Musicians and Educators : The Role of Influential Persons from Childhood to Post-college Years“. Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277995/.
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The purpose was to investigate the role of influential persons in the professional socialization process of music educators as musicians and teachers. The problems were to determine: who encouraged subjects toward music and teaching during pre-college, college, and post-college years; and the interrerationships of gender and teaching specialty with influential persons in subjects' lives.
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Cole, Mark Remsen. „An Examination of Cooperating Teachers' Observations of Their Student Teachers in the Areas of Personal, Teaching, and Musical Skills in the Elementary Classroom“. Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5001.
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The purpose of this descriptive study was to examine the observations of elementary school music teachers regarding the level of preparation of their most recent student teachers at the beginning of their student teaching experience. Twenty-seven elementary music teachers participated in a survey rating the preparedness of their student teacher in the areas of personal, teaching, and musical skills, and provided free-response feedback concerning the skills and abilities they observed as strong and weak. These responses were compared to the 1997 research completed by David Teachout, where preservice teachers and experienced teachers were asked to list what they felt were the forty most important skills necessary for success in regard to new music teachers. The results of the survey found a shift in emphasis in personal skills toward skills related to relationship quality with the students. Teaching skills surrounding Classroom Management were considered important but were the weaker of the demonstrated abilities. Musical skills showed the closest alignment between what was considered essential and demonstrated strength. Additional skills, both strong and weak were noted, and implications for the music teacher curriculum was discussed.
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Kim, Yŏng-suk. „The artist-teacher as college music educator /“. Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11396155.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1993.Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Harold Abeles. Includes bibliographical references (leaves 217-220).
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Goodman, Jerry Lee. „Perceived music and music-teaching competencies of classroom teachers in the state of Ohio“. The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1302725455.
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Fleischaker, Rachael Lynn. „Culturally Responsive Music Education: Conceptual and Practical Approaches of Elementary General Music Teachers“. Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1620832759515162.
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Tufekcioglu, Arzu, und Sinik-Panic Duska. „Music in preschool - a qualitative study of teachers use of music in preschool“. Thesis, Malmö högskola, Lärarutbildningen (LUT), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-29712.
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Syftet med vår studie är att synliggöra förskolepedagogers inställning till och användande av musik som ett pedagogiskt redskap i förskolan. För att samla relevanta empiriska data har vi använt intervju och observation som metoder. Urvalsgruppen består av 6 pedagoger från två förskolor. Vi har valt att undersöka en förskola med musikinriktning och en som inte har någon speciell inriktning.I vår undersökning har vi kommit fram till intressanta resultat så som att pedagoger har positiv inställning till musik och använder musik i sitt pedagogiska arbete både som mål och pedagogiskt medel. I båda förskolorna använder pedagoger musik för att det gynnar barns språkutveckling, sociala och emotionella utveckling. Musik används som ämnesintegrerande verktyg och det ökar barns inflytande och delaktighet i den dagliga verksamheten. Det verkar även lugnande på barnen.
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Michel, Jimmy. „Elementary Music Teachers' Perceptions of the Effect of Budget Reductions on Music Education“. ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/4746.
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Since 2007, many U.S. music education programs have been negatively affected by budget reductions at the local, state, and national levels. Although researchers have studied the effect of budget reductions on music education, they have not widely examined the perspectives of teachers who have experienced these reductions. The purpose of this study was to explore elementary music teachers' personal and professional experiences with budget reductions, and the perceptions of how their programs, students, schools, and communities have been affected by the budget reductions. The philosophies of Kodaly and Richards served as a conceptual framework for this qualitative case study. The primary research questions asked participants about their experiences with and perceptions of the effect of budget reductions on music programs at their schools and on their students. Interviews were conducted with 9 elementary music teachers. Data were analyzed using pattern coding to identify key themes. The 6 key themes identified were love for music and teaching music; pride in music programs and curricula; belief in the benefits of music education for all students, especially for low income students; senses of loss; adaptation and coping with loss; and sense of the future. Based on the findings, a professional development program was developed to assist music teachers to learn strategies to support music programs and become effective music education advocates. This project study may foster positive social change by encouraging teachers to collaboratively advocate for music education in communities and devise strategies that will allow for the sharing of scarce resources.
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Carter, Karen. „Itinerant teachers of music : a state of flux“. Thesis, University of Canterbury. School of Educational Studies and Human Development, 2003. http://hdl.handle.net/10092/3552.
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Teachers who are itinerant contend with many factors that complicate their ability
to deliver programmes. This thesis investigates the experiences of one such group
of itinerant educators, Itinerant Teachers of Music (ITMs). They are responsible for
the teaching of instrumental music in secondary schools in AotearoalNew Zealand.
I used a case study to examine the phenomenon of itinerancy and considered the
experiences of ITMs and ITM Co-ordinators in the Canterbury region and the
views of the Heads of Music Departments (HoDs Music) with whom they work.
This included observing ITMs at work and interviewing ITMs, ITM Co-ordinators,
and HoDs Music about being itinerant. I consulted strategic documents such as
music education reports, curriculum statements and job descriptions to examine the
place of ITMs in official music education discourses.
A social constructionist perspective underpins the research. Social constructionism
emphasises the socially constructed reality of ITMs' experiences and raises issues
of power and access to those discourses that define itinerancy.
I argue that itinerancy as encountered by ITMs is characterised by three main
themes: temporality, invisibility and adaptability. Time dominates itinerant work.
Teaching is compressed into twenty minute blocks, travel times are minimised. An
ITMs day is intensive, with scarcely a wasted minute. This influences the quality
oftheir work and interactions with colleagues. Their present situation is affected by
historical discourses of itinerancy, their future determined by current restrictions.
To be itinerant, with multiple work sites and frequent travel is to be largely
invisible. This invisibility, as ITMs engage in their work, impacts on their identity,
status, relationships and place in schools and educational discourses. Adaptability
and flexibility are essential ITM traits. ITMs are required to conform to the
demands and expectations .of diverse school systems, HoDs Music and students, as
well as their own employers, as they work within systemic constraints. They are
multi-skilled musicians and teachers.
ITMs work in conditions intensified by itinerancy where temporality, invisibility
and adaptability are the criteria by which they are defined and they have defined
themselves. I conclude with nine recommendations for change that involve a
review of the operational structures regulating the practice of itinerancy in the ITM
programme and an examination of the resources allocated to it.
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Beebe, Marla. „Teaching and Rehearsal Behaviors of Instrumental Music Teachers“. Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1181923968.
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Doughty, Judy A. „Inclusion and adaptation resources for general music teachers /“. View online, 2009. http://repository.eiu.edu/theses/docs/32211131591844.pdf.
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Eyles, Anne-Maree T. „Teachers' perspectives about implementing ICT in music education“. Thesis, Griffith University, 2020. http://hdl.handle.net/10072/393605.
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This research was incited by the release of the Prep to Year 10 (P-10) Australian Curriculum which included the significant feature of Information and Communication Technology (ICT) both as an independent subject and as a subsection of each subject within the Australian Curriculum. This research focuses on the implementation of ICT in music education, which is one of the five subject areas within the Arts Curriculum.
The purpose of this research was to investigate the lived experiences and perspectives of classroom music teachers throughout Queensland and to gain an insight into the organisational practices that positively and negatively influence the implementation of ICT in music education. Classroom music teachers were deliberately chosen to participate in this research due to their exclusive knowledge belonging to the specialist subject area of music education. The timing of this research occurred one year after the scheduled implementation of the Australian Curriculum: The Arts – music subject. This delay allowed a year for classroom music teachers to experience the curriculum and establish ideas and resources they require to deliver the curriculum.
This mixed methods research was conducted using explanatory sequential mixed methods, which were used to gather music teachers’ perspectives regarding issues such as, but not limited to: availability of ICT resources, ICT support, teacher confidence, current teaching practices and the provision of professional development. Following the analysis of the quantitative survey data, a number of qualitative semi-structured interviews were conducted to further investigate the identified themes, to provide a deeper understanding of the practical issues and ensure triangulation.
The data revealed that classroom music teachers perceived their attempts to implement ICT in music education programs were significantly inhibited due to the lack of accessibility to adequate ICT resources, ICT funding and ICT support. These issues forced classroom music teachers to favour resources based on availability, reliability and familiarity which limited pedagogical methodologies to whole class learning activities, contrary to the development of ICT proficiencies stated in curriculum documents. Although classroom music teachers were held responsible and accountable for the delivery of the Australian Curriculum, they were subject to organisational practices and decision making by School Leadership within local schools. Local context decision making was found to significantly contribute to the inadequate supply of resources necessary to support the implementation of ICT in music education and directly determined an inequitable delivery of music education throughout Queensland.Thesis (Professional Doctorate)
Doctor of Philosophy (PhD)
School Educ & Professional St
Arts, Education and Law
Full Text
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Maranzano, Charles. „Evaluating music teachers in Virginia: Practices and perceptions“. W&M ScholarWorks, 2002. https://scholarworks.wm.edu/etd/1539618548.
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The purpose of this study was to investigate current evaluation practices in Virginia and to assess the impact of public school evaluation upon teachers of music. Traditional methods for the evaluation of teachers appear to have limited applicability for the majority of elementary and secondary school educators engaged in the field of performing arts, due primarily to the specialized nature of their respective teaching disciplines. Educational administrators charged with the responsibility for evaluating personnel confront an additional challenge when compelled to apply general models that are not suited to the highly complex world of performing arts instruction. Music teachers and school divisions in Virginia served as sources of data for this descriptive study.;In order for educators to make informed evaluation decisions, comprehensive information about the contributions of music and other fine and performing arts personnel will need to be considered. New evaluation models emerging in recent years may hold the key for a more inclusive view of teaching performance in the arts. This study explored the use of current evaluation models in the context of music education and addressed the need for more reliable approaches to the evaluation of music teachers.