Dissertations / Theses on the topic 'Classroom music teachers'
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1
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.
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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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Gibbs, Beth Ellen Rutkowski Joanne. "Experienced elementary music teachers' perceptions of effective classroom interactions." [University Park, Pa.] : Pennsylvania State University, 2009. http://etda.libraries.psu.edu/theses/approved/WorldWideIndex/ETD-4642/index.html.
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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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Kalliokulju, Victoria, and Julia Eriksson. "Teachers' views on working with Music in the English Language Classroom." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-34597.
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The purpose of this degree project was to investigate the views of four elementary schoolteachers concerning the use of music in the English language classroom. Additionally wewanted to see how the teachers motivated their choices to use or not use music, and in order to answer our two research questions we chose to do semi-structured interviews with the fourselected informants. This method helped us to get an in depth perspective of the teachersthoughts and opinions. Krashen (1983) and Piaget (2008, 1988) provided us with theunderlying theoretical concepts for this study: ‘the affective filter hypothesis’ and ‘the theoryof cognitive development.’ Furthermore, we used selected previous research studies andtheoretical literature for the final analysis. Our findings show that the teachers have an overallpositive attitude towards using music and English together and that they all have seen positiveoutcomes for the students’ motivation and language learning when using it. Their motives forusing music were based on their own musical interests, their view of learning, the type ofclass they teach and their previous positive experiences. Our conclusion for this study is thatthe benefits that can come from using music in the English language classroom are far moreprominent than the challenges, and in the end it is up to the teacher to evaluate if this way ofworking will suit her learners. Therefore, our suggestion to English teachers is to at leastconsider the use of music in the English language classroom in order to experience thepossible benefits.
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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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Venesile, John Anthony. "The relationship among personality characteristics, self-esteem, and music teaching behaviors in prospective elementary classroom teachers." Case Western Reserve University School of Graduate Studies / OhioLINK, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=case1059763317.
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Brenes, Manuel Emilio. "A descriptive study of the ratio of approval to disapproval demonstrated by music teachers and classroom teachers in first, second, and third grades." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1745.
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The purpose of this study was to determine the approval to disapproval ratios of feedback given by music and classroom teachers to first, second and third grades. Eight teachers from a South Florida Elementary School were selected for this study.
Twelve 20-minute videos were taken for further examination. Analyses of data using percentage formulas were used to determine the ratio of each of the teacher reinforcement. Classroom teachers gave 2.3% social approval feedback, 59% academic approval feedback, 22% social disapproval feedback, 16.5% academic disapproval feedback, and 0% errors. Music teachers gave .7% social approval feedback, 67% academic approval feedback, 22% social disapproval feedback, 10% academic disapproval feedback, and 0% errors. Today's teachers are 8% more academically approving than thirty years ago. Results also show that today's music teachers are still more approving than classroom teachers.
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Wiles, Michael Ashley. "A phenomenographic approach to understanding Taiwanese music teachers' experiences of creativity in the classroom." Thesis, Durham University, 2017. http://etheses.dur.ac.uk/12277/.
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This thesis examines what creativity means to a group of Taiwanese music teachers, and how it relates to their classroom experiences and teaching practices. The research followed a qualitative, interpretative approach. Interviews were used to gather data, and were analysed according to phenomenographic principles. Analysis of the interviews indicated that two main approaches were taken by teachers regarding their experiences of creativity: a product-focused, and a process-focused approach. In the product-focused approach, creativity was defined from the outside according to externally imposed factors, frames of reference, and motivating forces. In the process-focused approach, creativity was defined from the inside, from the point of view of the individual involved, and in which personal agency, inclusion, and collaboration were valued. From the two approaches, four categories were further identified that delineated the main focus of teachers’ experiences, namely curriculum, talent, knowledge, and dialogic. The approach taken by teachers towards creativity also showed a relationship to how music education was perceived. Teachers who had a product-focused approach to creativity saw music education in terms of content, while those who were process-focused had a meaning-oriented view of music education that valued the experience of students over the content that was taught. Similarly, a correspondence was found between how creativity was perceived and the nature of classroom interactions that varied between teacher-centred and learner-centred. The thesis concludes by questioning whether traditional approaches to music education still prevalent in Taiwanese classrooms can accommodate the democratic and universalized approach to creativity promoted by the Taiwan government. It is recommended that music teacher educators in Taiwan re-evaluate the goals of music education and how it is delivered if music education and creativity are to co-exist.
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Keyloun, Cruz Mary Louise. "Effects of a Music Literacy Integration Intervention on Teachers’ Self-Efficacy and Proactive Attitudes Toward Music Integration in Classroom Instruction." Diss., NSUWorks, 2016. https://nsuworks.nova.edu/fse_etd/96.
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With the adoption of the common core state standards, pressure to raise the achievement of young learners was intense. Classroom teachers were scrutinized to teach lessons with high levels of thinking and rigor. Teachers were inclined to eliminate or ignore artsenriched lessons that would benefit students. The reason for this action was associated with the efficacy of the classroom teacher toward music integration in literacy curriculum. The purpose of the study was to examine the effects of the Music Literacy Integration Intervention (MLII) on the self-efficacy and proactiveness of teachers at a small elementary school in Florida toward integration of music in reading instruction. There were 3 data-collection instruments. The Teacher Efficacy scale (TES) was used to collect pretest and posttest data for Research Question 1, whereas the Proactiveness Attitude scale (PAS) was used to collect the same type of data for Research Question 2. The Teacher Interview Instrument was used to collect only postimplementation data for Research Question 3. The triangulated data from the 3 instruments were used to respond to Research Question 4. Teacher participants had 272 students in kindergarten-Grade 5. There was a convenience sample of 20 teachers for the survey part of the study. Only 18 teachers returned completed surveys. The sample size for the interviews was 6 teachers randomly selected from 18 teachers. Quantitative data analysis for the Research Questions 1 and 2 was descriptive statistics (i.e., pretest mean, posttest mean, standard deviation, and effect size indicator). The inferential statistical model for the 2 research questions was the t test for paired samples. Qualitative data analysis for Research Question 3 followed a modified version of the constant-comparative, data-analysis procedure. Triangulated survey and interview data were used to respond to Research Question 4. Findings for Research Question 1 indicated the MLII improved teachers’ perceptions on their self-efficacy toward music integration as measured by the TES from pretest to posttest. Results for Research Question 2 suggested the MLII improved teachers’ perceptions of their proactive attitudes toward music integration as measured by the PAS. The increases in scores in both research questions showed large effect sizes. Findings for Research Question 3 indicated teachers perceived that the MLII met its objectives of providing useful strategies that facilitated the integration of music literacy into the reading instruction. Results for Research Question 4 showed the qualitative data from Research Question 3 confirmed the quantitative data from Research Questions 1 and 2. An implication was music had a positive effect on students’ reading abilities and school leaders should reinvest in music integration into the reading curriculum.
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Loring, Lauralee Rose. "Differences in intentions, beliefs, and feelings of two groups of elementary education majors concerning music education in the classroom." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/187487.
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The purpose of this quasi-experimental study was to identify the changes which occur for elementary education majors as they proceed through a course in music fundamentals for classroom teachers and a course which presents methods of teaching music. The subjects responded to several measuring instruments on the first day of classes in the music fundamentals course (the pretreatment group, five classes, N = 103) or on the last day of classes in the methods course (the posttreatment group, five classes, N = 93, all of whom had completed the prior fundamentals course). The study addressed one main question: Are there significant differences between the responses of the pretreatment and posttreatment groups to questions which consider intentions, beliefs, and feelings about the teaching of music? The analysis of data first considered several items bearing on the extent to which the two groups were a representative sample of the population of students enrolling in such classes during a three-year period and to what extent the two groups could be considered equivalent. The lack of significant differences in grade-point average, grade in school, and declared major suggested that the two groups could be considered quasi-random samples from the population of students enrolling in such classes. No significant differences were found between the two test groups in terms of GPA, age gender, and several items related to music background. Regarding the research question, the analysis of data identified significant differences between groups in three areas. Subjects in the posttreatment group: (1) intend to use more musical activities more frequently in their classrooms than those in the pretreatment group, (2) have more positive beliefs about their musical skills/knowledge and fewer negative ones than those in the pretreatment group, (3) have more positive feelings about their ability to provide music in the classroom than those in the pretreatment group.
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Tracy, Elizabeth Joan. "Innovators in the Classroom: In-service Teachers Creating and Implementing Non-Band, -Choir, and -Orchestra Courses in Their High Schools." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1523004518027062.
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Scruggs, Bernadette Butler. "Learning outcomes in two divergent middle school string orchestra classroom environments a comparison of a learner-centered and a teacher-centered approach /." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-11242008-152649/.
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Thesis (Ph. D.)--Georgia State University, 2008.Title from file title page. David E. Myers, Dana L. Fox, committee co-chairs; Marilyn Seelman, Carolyn Furlow, Phillip Gagne, Patrick K. Freer, committee members. Description based on contents viewed Aug. 6, 2009. Includes bibliographical references (p. 188-200).
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Heyworth, John Nathan. "A study on the impact of a music looping technology intervention upon pre-service generalist teachers’ self-efficacy to teach music in primary schools." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2144.
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In Australia, in the current climate of economic rationalism in which there has been an increasing emphasis on literacy and numeracy, funding for specialised subjects like music has been reducing. As a result, generalist classroom teachers are being given more responsibility for delivering effective music education in primary schools. However, the time dedicated to training pre-service teachers in music education in tertiary institutions has diminished. Further, time constraints involved in building pre-service knowledge and skills in teaching music may impact many pre-service teachers’ beliefs about their ability to teach music.
Within these constraints, digital technology may provide a key to improving pre-service teacher training in music education in universities, resulting in better quality delivery of music in schools. This study investigates the potential of digital looping technology to build generalist pre-service teachers’ knowledge of and efficacy for teaching music in primary schools. The study involved three stages of investigation: Stage One: an experimental and control intervention involving measuring the self-efficacy of pre-service teachers before and after they completed one unit of study incorporating looping technology; Stage Two: video analysis in a practicum setting; and Stage three: participant self-reflections following the practicum to investigate the transferability of pre-service teachers’ self-efficacy from university-based learning to classroom practice. Based upon the study, this thesis makes a number of recommendations for future practice in terms of generalist pre-service teacher training, as well as recommendations for future research.
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Athanasiou, Georgina. "An exploration of the effectiveness of music lessons in Cypriot primary schools : what are the issues for general classroom teachers ?" Thesis, Lancaster University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.586924.
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This study aimed to uncover the issues affecting the effectiveness of music lessons in primary schools in Cyprus, when these are carried out by general teachers. This was achieved by testing the hypothesis that these issues are caused by general teachers' limited musical awareness; their negative attitudes towards (teaching) music; and inadequate support they receive in-service. This research was conducted during two waves. A positivist approach was initially employed using a survey (wave 1) amongst teachers who were appointed in public primary schools in Cyprus. However, a phenomenological approach was significant for the purposes of this study because no explanations of the issues uncovered by the survey (wave 1) were collected. Thus, in-depth interviews (wave 2) were carried out with a small sample of general teachers who discussed their past musical experiences, current feelings about and experiences in (teaching) music, and their views of the various forms of in-service support with special reference to music books, music curriculum, school musical facilities and the music inspector. The overall findings of this research confirm all three areas of the hypothesis, suggesting that current practice for preparing general teachers to teach music is inadequate. This study has implications and thus will be useful for: general teachers in realising their responsibility in providing children with positive musical experiences; teacher educators in understanding the kind of knowledge and skills that would enable student teachers to teach music effectively and with confidence; and the Cypriot Government to consider music as one of the primary subjects within the curriculum, and thus provide those who teach music with the appropriate in-service support. Suggestions for future research relate to recent developments in primary education in Cyprus, which have not been explored in this study (introduction of the 'new' music curriculum, 'new' music books and the use of music technology).
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Anderson, Marilyn Jane. "Elementary music and classroom teachers' time-use: a comparison by grade level, time of day, and day of the week." FIU Digital Commons, 2000. http://digitalcommons.fiu.edu/etd/1286.
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This study investigated time-use of elementary music teachers and elementary classroom teachers to determine: (1) whether there was a relationship between grade level, time of day, and day of the week and teachers' time-use in teaching, monitoring, and non-curricular, and (2) whether ethnicity, training, and years of experience affect teacher time-use. Sixty-nine music teachers and 55 classroom teachers participated.
A MANOVA was used to examine the hypothesized relationship. ANOVA results were significant for time spent teaching, monitoring, and non-curricular. An independent t test revealed a significance difference (t (302) = 5.20, p
Analyses of the activities subsumed under the major categories indicated significant differences between elementary music teachers and elementary classroom teachers, overall, in subject matter ( p
teachers was higher than time-use for those who were Hispanic and white non-Hispanic. Analyses of time-use by grade showed no increase for either group as grade level increased. A statistically significant Wilks Lambda ( F (1,294) = .917 p < .013 ) was found for the independent variable day of the week. ANOVA indicated that elementary classroom teachers monitored more on Thursdays and Fridays: music teachers allocated more time to non-curricular activities on Fridays.
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Harney, Kristin. "Portraits of pre-service classroom teachers: exploring intentions to integrate music through the lens of the theory of planned behavior." Thesis, Boston University, 2014. https://hdl.handle.net/2144/11011.
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Thesis (D.M.A.)--Boston UniversityThe primary purpose of this short-term study was to examine pre-service classroom teachers' intentions to integrate music in their future classrooms. Using the theory of planned behavior (Fishbein & Ajzen, 2010) as a framework, and embedded, multiple-case study design, I developed case studies of six pre-service classroom teachers enrolled in a music methods class. I identified changes in their perceptions of music integration, changes in their attitudes toward music integration, changes in their perceptions of subjective norms, and changes in their perceived behavioral control over music integration. Results indicated that participation in an elementary music methods course with an initial focus on the development of musical skills and a later focus on music integration might have influenced such changes. Following the theory of planned behavior, the results of this study suggest that participants are more likely to integrate music in their future classrooms after participating in the methods course. All participants expressed confidence in teaching lessons they had created, regardless of their overall confidence to integrate music. Participants' confidence in their ability to integrate music and their actual ability to integrate music did not always align. Influential course components included an initial emphasis on the joy of music making followed by a focus on music integration, valuable course assignments, an informed and experienced course instructor, and successful course activities, including participation in model lessons, peer teaching, and reflection. Implications for music education include possible revisions to current curricular models at the teacher education level, a call for active participation and engagement in musical activities during methods courses, and a call for increased collaboration between teachers of different subjects.
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Cross, Katelyn M. "Preservice Early Childhood, Middle Childhood, and Learning Intervention Specialists: Perceptions of Music Use in the Classroom." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428254560.
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James, Anne. "Building competence and confidence in the trainee primary teacher to deliver music in the classroom : an exploration of how one ITE provider might impact upon the confidence and ability of its primary trainee teachers to teach music." Thesis, Liverpool Hope University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.722159.
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Lenzo, Terri Brown. "Online Professional Development in Preschool Settings: Music Education Training for Early Childhood Generalists." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1416315624.
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Cason, Marti B. "Elementary Teacher Candidate Perceptions of Hip-Hop Pedagogy in the Mathematics Classroom." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248492/.
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This dissertation examines elementary teacher candidates' perceptions of hip-hop culture and utilizing hip-hop pedagogy in a mathematics classroom. This study demonstrates how elements of hip-hop may be integrated into an elementary mathematics methods course to develop pedagogical knowledge that challenges teacher candidates to explore the benefits of utilizing hip-hop as a tool in the classroom. This study contributes to the growing body of research that investigates the use of hip-hop pedagogy in educator preparatory programs. Participants in this study were teacher candidates at a large university in Texas enrolled in the final year of their educator preparatory program. This research shows that as a result of integrating hip-hop pedagogy in the mathematics methods course, teacher candidates had increased knowledge and more positive perceptions of hip-hop culture, and they demonstrated a greater willingness to integrate hip-hop pedagogy in their future classrooms.
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Sisler, Elizabeth Amy. "Classification of Teacher Questions in a General Music Classroom." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1330.
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The purpose of this case study was to examine the types of questions a music teacher uses in the classroom and when, and with what frequency, those question types occurred. The questions an experienced general music teacher asked fourth-grade students over the course of five thirty-minute class periods were classified as either procedural/behavioral (36.17%), content (61.97%), or off-topic (1.86%) questions. The content questions were further categorized as either convergent or divergent, as well as whether they were instances of probing, prompting, or redirection. The participant asked an average of approximately 75 questions per class period, and the majority of these (85.84%; n = 200) were convergent. Though previous research has demonstrated the importance of the use of a variety of question types, this knowledge may not have translated to the classroom.
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Klonowski, Olivia. "Secondary Music Teachers' Perspectives on the Inclusion of Rock Bands in High School Music Classrooms." Youngstown State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1619793991159909.
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Drummond, Brendan. "The classroom music teacher - an uncertain profession? : the Northern Ireland perspective." Thesis, University of Ulster, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267683.
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Broszczak, Amanda. "Music listening for student engagement: Teacher and student perspectives." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/133823/1/Amanda_Broszczak_Thesis.pdf.
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This study explored teacher and student perspectives on music listening for student engagement through semi-structured interviews. Two major findings are reported: music may be used to focus and motivate students during individual and non-challenging tasks; and, individual music listening can reduce classroom distractions.
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Sheridan, Megan Maureen. "Singing is Elementary: Teachers' Use of Singing in Three Kodaly-Based Elementary General Music Classrooms." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429743952.
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Hoch, Christopher David. "The Perceptions of Cooperating Teachers Regarding the Skills and Knowledge of Student Teachers Working in Beginning and Middle School Instrumental Music Classrooms." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339704130.
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Shirk, Christine. "THE PREPAREDNESS OF ELEMENTARY MUSIC TEACHERS TO INCLUDE STUDENTS WITH CHALLENGING BEHAVIOR IN THEIR CLASSROOMS." Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3817.
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Students with disabilities, some with emotional and behavior disorders, are included in almost all elementary music classes. Students with emotional behavior disorders are one of the greatest challenges for teachers. To be effective, teachers must develop strategies and inclusive practices specifically geared towards intervention. With the quantity of students served and only limited class time with students, the music teacher is often unaware of the unique needs of specific special learners. Music teacher preparation has been inadequate in training teachers for inclusion. Elementary music educators rarely have outside support to deal with classroom challenges as they serve students with disabilities and at-risk students. Music teacher training is focused on content, not behavior management. This study examined the perceptions of randomly selected elementary music educators who were members of MENC: The National Association for Music Education regarding their preparedness to effectively manage five areas of severe behavior often exhibited by students with emotional behavior disorders: withdrawal, impulsivity, argumentative behavior, aggression towards peers, and aggression towards the teacher. The researcher devised a 39 item online survey instrument based on supporting literature. The survey was given to randomly selected participants. Two hundred sixty-nine elementary music educators from across the United States completed the survey providing information on incidence frequency, preparedness, training in behavior management, and the amount of behavior support available. Elementary music teachers felt prepared to handle impulsivity (58.2%), and argumentative behavior (55.7%). They were not prepared for withdrawal (50.8%), aggression towards peers (50.9%), and least prepared to handle aggression towards the teacher (58.1%).Over 94% of the music teachers had adult assistance less than 25% of the time and 45.9% never had adult assistance with included classes. More than 74% of the teachers indicated that they have adult assistance with self-contained special education classes less than 25% of the time and 35.7% never having adult assistance with those classes. Forty-six point two percent of the music teachers had no behavior specialist available or were unaware if one was available. Only 3.7% of the respondents felt they had all the support they needed. Thirty-six point one percent of the music teachers had no crisis plan in case of an eruption of severe behavior in their classes.Ed.D.
Department of Child, Family and Community Sciences
Education
Curriculum and Instruction EdD
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Sutcliffe, Sarah, and n/a. "An investigation into the most significant influences on the way beginning teachers incorporate music into their primary classrooms." University of Canberra. Education, 1992. http://erl.canberra.edu.au./public/adt-AUC20061109.113339.
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The aim of this study was to identify the significant influences that effect the
way beginning teachers in the A.C.T. incorporate music into their primary
classrooms.
Twenty-eight teachers from 23 different schools were interviewed in this
study. These teachers were chosen on the basis that they were beginning
teachers (teachers who were in their first, second or third year of teaching)
and had graduated from the University of Canberra from 1988 to 1990. The
teachers were interviewed over a 7 week period in Term 4 of 1990. The
interview schedule incorporated aspects of a questionnaire and an interview
employing both closed and open-ended questions.
The study found that although 71% of the teachers taught some music in
their classrooms, no teacher actually taught the whole music curriculum (as
defined by the A.C.T. Curriculum Guidelines, 1990). Singing, listening and
moving were taught by most teachers but areas of the music curriculum
such as playing, reading and writing, improvisation and composition were
rarely included. These results were influenced by factors such as the musical
background of the teachers, preservice courses, the school music curriculum,
whether or not teacher's colleagues taught music and the school's
utilisation of the music specialist. For example, teachers who taught music
were more likely to come from a school that had a music curriculum rather
than from a school that did not.
This study has implications for the development and implementation of
primary school music curricula, the reassessment of future preservice and
inservice programs, the utilisation of human resources within primary
schools and the development of more positive attitudes towards music in
schools and society in general.
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Scruggs, Bernadette Butler. "Learning Outcomes in Two Divergent Middle School String Orchestra Classroom Environments: A Comparison of a Learner-Centered and a Teacher-Centered Approach." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/music_diss/1.
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This study investigated whether and in what ways a learner-centered instrumental music education classroom environment may nurture musical growth and independence. The mixed-methods design incorporated quantitative and qualitative measures to compare performance outcomes, musical growth, and learner and teacher dispositions in learner-centered and teacher-centered middle school orchestra classrooms. Quantitative measures included a Performance Assessment Instrument and a researcher-designed survey of student perceptions and attitudes. Qualitative measures included classroom observation, student and teacher interviews, and teacher journal entries. Research participants were four teachers, two of whom taught using a teacher-centered approach, and two of whom were oriented to learner-centered classroom strategies through a professional development program taught by the researcher. The teachers implemented learner-centered or teacher-centered environments in four intact classrooms that included 155 student participants. Learner-centered methods were based on democratic (Dewey, 1938; Woodford, 2005) and constructivist (Vygotsky, 1978; Wiggins, 2001) principles as well as research and pedagogical literature detailing the characteristics of learner-centered classrooms (McCombs & Whisler, 1997; Schuh, 2004). These included peer tutoring and collaboration; student conducting, solicitation and incorporation of student input; and facilitation of student leadership. I found no differences in music performance outcomes between learner-centered and teacher-centered ensembles. However, learner-centered students exhibited increased musical growth and greater musical independence as compared with students in the teacher-centered environment, and indicated higher perceptions than teacher-centered students of choice and leadership opportunities in their classrooms. Learner-centered teachers reported increased engagement and leadership skills from their students. Results of this study indicate that music ensemble teachers can incorporate a learner-center classroom environment that engages students musically, promotes independence and leadership, and involves students in higher order thinking while attaining performance standards at or above those expected of middle-school orchestra students.
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Masdeu, Yélamos Eduard. "The digitalisation of music classrooms in schools in Catalonia: study of and proposal for a general framework for integrating technology in music education." Doctoral thesis, Universitat de Lleida, 2015. http://hdl.handle.net/10803/300305.
Full textAbstract:
Aquesta investigació és un estudi descriptiu sobre la digitalització de les aules de música a les escoles públiques de Catalunya que té com a objectiu: (a) conèixer l’estat actual en què es troba la incorporació de les tecnologies a les aules de música de les escoles catalanes; (b) identificar els elements i factors que mediatitzen la implementació de les tecnologies en l’ensenyament de l’educació musical i (c) elaborar, a partir de les anàlisis anteriors, una proposta de marc per a la integració de les tecnologies en l’ensenyament de l’educació musical (MITEM). Es crea un qüestionari electrònic que es fa arribar a 1371 centres educatius amb especialistes en educació musical, obtenint un 35,1% de respostes que configuren una mostra final de 482 escoles. Al darrer ítem del qüestionari (pregunta oberta) responen un 24,27% dels enquestats. Es realitzen també 16 entrevistes a experts nacionals i internacionals en l’àmbit de les tecnologies aplicades al camp de l’educació musical. Les conclusions de l’estudi - agrupades en quatre eixos (administracions educatives, centre educatiu, aula de música i especialista en educació musical) -, posen de manifest que: (a) les polítiques educatives d’integració de les tecnologies a les escoles disten força de les concepcions dels especialistes pel que fa a la manera de com impulsar l’ús efectiu de les tecnologies a les aules; (b) les escoles catalanes reflecteixen un nivell moderat d’adopció de les tecnologies dins les aules de música; (c) la utilització de les tecnologies en els processos educatius musicals està centrada principalment en activitats en les quals l’especialista en educació musical defineix i controla els espais d’aprenentatge i (d) l’especialista manifesta una actitud positiva envers la utilització de les tecnologies en els processos d’aprenentatge tot i la seva mancança formativa en l’ús de les tecnologiesEsta investigación es un estudio descriptivo sobre la digitalización de las aulas de música en las escuelas públicas de Catalunya que tiene como objetivo: (a) conocer el estado actual en el que se encuentra la incorporación de las tecnologías en las aulas de música de las escuelas catalanas; (b) identificar los elementos y factores que mediatizan la implementación de las tecnologías en la enseñanza de la educación musical y (c) elaborar, a partir de los análisis anteriores, una propuesta de marco para la integración de las tecnologías en la enseñanza de la educación musical (MITEM). Se elabora un cuestionario electrónico que se envía a 1371 centros educativos con especialistas en educación musical, obteniendo un 35,1% de respuestas que configuran una muestra final de 482 escuelas. En el último ítem del cuestionario (pregunta abierta) responden un 24,27% de los encuestados. Se realizan también 16 entrevistas a expertos nacionales e internacionales en el ámbito de las tecnologías aplicadas al campo de la educación musical. Las conclusiones del estudio - agrupadas en cuatro ejes (administraciones educativas, centro educativo, aulas de música y especialista en educación musical)-, ponen de manifiesto que: (a) las políticas educativas de integración de las tecnologías en las escuelas difieren de las concepciones de los especialistas en lo concerniente a como promover el uso efectivo de las tecnologías en las aulas, (b) las escuelas catalanas reflejan un nivel moderado de adopción de las tecnologías en las aulas de música, (c) la utilización de las tecnologías en los procesos educativos musicales se concentra principalmente en actividades en las que el especialista define y controla los espacios de aprendizaje y (d) el especialista que trabaja en las escuelas catalanas manifiesta una actitud positiva con respecto a la utilización de las tecnologías en los procesos de aprendizaje a pesar de su falta de formación en el uso de las tecnologías
This research project is a descriptive study of the digitalisation of music classrooms in state-funded schools in Catalonia whose objectives are threefold: (a) set out the current state of incorporation of technologies in music classrooms in Catalan schools; (b) identify the elements which influence the implementation of technologies in music education and (c) draw up a general framework proposal for integrating technology in music education (FITME) on the basis of the previous analyses. A questionnaire was sent to 1,371 schools that have a specialist music teacher, of which 35.1% responded. The final sample was 482 schools. The open question was answered by 24.27% of music teachers. 16 interviews were conducted with national and international experts in technologies applied to music education. The conclusions of the study are grouped into four areas (education authorities, the school, the music classroom and the music teacher), of which we would highlight the following: (a) education policies for technology integration in schools differ significantly from how music teachers conceive the best way to drive effective use of technologies in the classroom; (b) Catalan schools reflect a moderate level of technology adoption in the classroom; (c) use of technologies in music education processes is focussed principally on activities in which the teacher defines and controls the learning environment and (d) music teachers working in Catalan schools display a positive attitude towards the use of technology in learning processes despite their lack of training
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Lehmberg, Lisa J. "Perceptions of Effective Teaching and Pre-Service Preparation for Urban Elementary General Music Classrooms: A Study of Teachers of Different Cultural Backgrounds in Various Cultural Settings." [Tampa, Fla.] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002331.
Full text
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Murray, Sandra Akiko. "A survey of primary classroom teachers’ perceptions of music instruction and their own music skills." Thesis, 1994. http://hdl.handle.net/2429/5681.
Full textAbstract:
The purpose of the study was to examine primary classroom teachers’
perceptions of music education and their own music skills in the provision of
music instruction for primary aged children. The objectives of the study were
to determine the specific topics in music education that primary classroom
teachers feel they can and cannot teach comfortably, the kind of music
education resources (techniques and materials) that primary classroom teachers
find useful or helpful, how primary classroom teachers perceive the importance
of music in the curriculum, and how primary classroom teachers’ perceptions of
music instruction are shaped by their past music experiences.
The questionnaire, A Survey of Primary Classroom Teachers’ Attitudes and
Music Backgrounds in Music Education, was mailed to 257 primary classroom
teachers in School District #34, Abbotsford. Responses to the questionnaire
were tallied, and distribution frequencies for most of the questionnaire items
were displayed as graphs. Anecdotal comments were compiled and analysed for
categorization.
Sixty-four percent of the teachers responded to the questionnaire.
The majority of the study’s participants indicated that they believe music is
important for children, and that they also value music as a subject within
itself. The teachers in the study said that personal past experiences in the
primary grades, recordings, concert attendance, and colleagues were
influential in helping to shape their perceptions of music instruction.
Most of the respondents indicated that they teach music to their
students, but are comfortable teaching only certain aspects of music instruction. The majority of teachers claimed that they rely on their
personal music experiences as a resource for teaching music. Other highly
favoured resources were in-service workshops, observation of a music
specialist teaching, and music series textbooks.
Teachers who had taken an undergraduate university course in music
education rated the study of appropriate songs for children of different ages,
the development of movement activities (singing games, dances, etc.), and the
use of rhyme or chant to teach rhythm or movement activities as the more
helpful course topics.
The findings of the present study hold important implications in the
consideration of resources, personnel, training, and curriculum development in
music education.
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"Relationships Between Middle School String Teachers’ Teaching Beliefs and Classroom Practices." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.55531.
Full textAbstract:
abstract: Since the 1980s, interest in the cognitive and affective influences on teaching has initiated studies on teacher beliefs and practices. Studies of teacher beliefs in academic areas such as reading, math, social studies, and science are prolific. However, studies about the teacher beliefs and practices of music teachers are scarce. The purpose of this study, therefore, is to explore the teacher beliefs of middle school orchestra teachers and to examine how their self-reported and observed teaching practices reflect these beliefs.
Based on the work of foreign language education researcher Simon Borg (2003) a conceptual framework was developed that shows the various sources of teacher beliefs and practices, including formative preservice musical experiences, inservice contextual factors, and inservice professional development. Employing a qualitative multiple case study method, six purposely-selected middle school orchestra teachers, representing a variety of experience levels and program characteristics, shared their teacher beliefs and practices. Data generation included observations, interviews, stimulated recall (think aloud teacher commentary of videotaped teaching episodes), and written reflection surveys. During analysis, six core teacher beliefs about middle school string students and how they learn were identified. These beliefs guided the teachers’ observed practices.
Findings from this study illustrated that preservice formative musical experiences influenced the middle school orchestra teachers’ beliefs about the value and importance of music teaching as a career. Data from the participants revealed a wide variety of instructional practices emanating from largely similar core pedagogical beliefs. Analysis suggested that experienced teachers held more developed teacher beliefs, and they selected instructional practices carefully, where inexperienced teachers were still formulating their own beliefs and experimenting with instructional practices. Data from the study point out that contextual constraints sometimes prevent teachers from enacting their closely held beliefs. This incongruence influenced three of the six participants to change teaching positions or retire early from the education profession.
The study of music teacher beliefs and practices may be of interest to preservice and inservice music teachers and music teacher educators. Future studies may explore the relationship between teacher beliefs and practices and student achievement, and contribute to string music education research.Dissertation/Thesis
Doctoral Dissertation Music Education 2019
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Schiff, Marcelle. "A qualitative study of music teachers' beliefs about the teaching of composition." Thesis, 2015. https://hdl.handle.net/2144/15437.
Full textAbstract:
While research has touted the educational benefits of music composition in the classroom, studies have also revealed the numerous difficulties teachers encounter in its inclusion. From lack of time and materials to lack of training and confidence, teachers have struggled to incorporate composition in their lessons. At the same time, a body of research also has suggested that what teachers believe about a subject can have significant bearing on what they teach and how they teach it. This multi-case study looked at three teachers to investigate what they believed about music composition, where those beliefs originated and how those beliefs may be expressed in their classrooms and use of composition.
The results revealed the significance of early music influences with family and church music directors, a strong connection to identity through music, and the importance of the sharing and peer teaching of music. There was a distinct bias for European forms and standard notation that eclipsed other ways of knowing, understanding, and expressing music. Other than jazz, forms of improvisation were often viewed as childish or primitive. The teachers most likely to find success in the use of composition in the classroom were flexible, and able to align their beliefs about music education, the efficacy of their students and themselves, with their beliefs about composition and what it can offer.
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Dissinger, Meagan Elizabeth. "On the Journey to Becoming Culturally Responsive in a High School Choir Classroom: A White Woman’s Autoethnography." Thesis, 2019. https://doi.org/10.7916/d8-p0kg-5w40.
Full textAbstract:
Application of the culturally responsive teaching (CRT) initiative to practice may be challenging because each school community is unique. The individualized nature of CRT renders that research on successful CRT practices is only mildly, if at all, applicable to practicing teachers. As a result of these barriers, little is known about the process of becoming culturally responsive. The purpose of this study was to document my process in seeking to become a culturally responsive music educator.
Critical Race Theory shaped this study. The emphasis on white culture in public high school choir curricula does not reflect the diverse populations in music classrooms today. Many of these classrooms are led by white teachers like myself, requiring that we interrogate our race and how often it affects the learning environment in our classrooms.
Autoethnographic methods were used in this study. Three sources of data were gathered: my journal, lesson plans, and other teaching artifacts including student work. The data were then condensed into three stories: a) the story of me; b) the story of my teaching; c) the story of my students. Self-reflection, self-assessment, and self-analysis took place through questioning which included: a) “How does my whiteness affect my teaching?” b) “How often were suggestions from scholarship used?” c) “How did my attempts at culturally responsive teaching affect my students?”
Through this work, I found that developing awareness of my whiteness, my biases, and assumptions, and how they influence my instructional choices was the most important step towards CRT. I often observed myself in a self-imposed binary: either I was ‘successful’ or ‘a failure’ at being culturally responsive. My disposition about CRT has changed because now I understand that teaching responsively is not a binary but a continuum. Each day I may exist in a different place on the continuum. Therefore, I will always be becoming culturally responsive.
An individual’s process of becoming culturally responsive can only be learned through autoethnographic techniques. Additional autoethnographies conducted by teachers who are attempting to become culturally responsive may assist in finding trends.
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Chen, Pei-i., and 陳佩宜. "A study of the effect of junior high school music teachers who emphasize psychology of learning and classroom management on students' learning behavior." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/87437078898331959270.
Full textAbstract:
碩士國立臺灣師範大學
音樂學系
93
Abstract The purpose of this study is to investigate the effect of junior high school music teachers who emphasize psychology of learning and classroom management on students’ learning behavior. It combines all the surveys of documentations in order to conclude more efficient ways to conduct classroom management, which can be the reference to music teachers to conduct classroom management and to change the way of learning. This research uses inquiry of documentations, questionnaire, and interview surveys. Findings and conclusions of this study are as following: 1. The ideas of the classroom management and the cognition of the psychology of learning for a music teacher: A. A music teacher should have the cognition for psychology and the skill of counseling in order to conduct classroom management effectively. B. A music teacher should provide more opportunities for students to participate classroom activities or public affairs. That makes students develop the spirit of teamwork, their abilities of dealing with difficulties and the senses of responsibility. C. The classroom management should focus on the development of moral integrity, the fundamental skills, and the admittance of the life combining arts and humanities. D. Teachers should respect every individual’s diversity and use various teaching methods to inspire student’s suitable development. E. The modernized classroom management should emphasize on the integration of electronic technology of learning and managing process. 2. The methodology of classroom management for a music teacher A. A music teacher should use various methodologies to catch the students’ attention toward the contents. B. The musical pedagogy should have diversity, creativity, and entertaining elements to reinforce the students’ learning motivation. C. The pedagogical contents should be based on the students’ cognitive development and combine their former experiences. That would produce enthusiasm and the voluntarism in students’ attitudes. D. The music teacher should value students’ learning demands. Besides, the music teacher should promote students’ voluntarism and the ability to communicate with people by cooperative learning. E. A music teacher should use immediate reinforcement, intermittent reinforcement, and continuous reinforcement to promote the students’ learning interests, reinforce and maintain their good behaviors. F. The encouragement and the punishment for students should be made efficiently. Encouragement should be more than punishment, and it should guide the students to self-constraint. G. A music teacher should break the traditional limitation for learning space. He should dedicate himself to the design of the learning environment by using creative ideas, and he should allow students to participate in arranging and decorating the classroom in order to influence and change the students unobtrusively. H. A music teacher should care about the students with respect, acceptability, and understanding. He should create intimate interaction between teachers and students, and he should create mutual communication between teachers and parents. He could co-work with parents to reduce students’ behavioral and academic problems. According to this research, a music teacher should aware of the changes of the pedagogical environment, the tendency of the pedagogical innovation, the skills for classroom management, and the ability to adjust his methodology according to practical pedagogy to have remarkable instruction.
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LIN, LI-CHI, and 林莉綺. "A Study on the Relationships among the Music Teachers' Teaching Styles, Learning Motivation, Classroom Atmosphere and Students' Learning Effectiveness in the Junior High schools." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/68878472823992770804.
Full textAbstract:
碩士國立屏東教育大學
教育行政研究所
102
The main purpose of this study aims to investigate the relationships between the musical teachers’ teaching styles, learning motivation, classroom atmosphere, and students’ learning effectiveness in junior high school in Kaohsiung. The study also explores the different effects of background variables on these four variables. Furthermore, the study analyzes the relationship and the effectiveness of these variables, and verifies the research hypotheses. This study uses questionnaire survey method. The research samples are the junior high school students in Kaohsiung. This study compiles “the questionnaire of the musical teachers’ teaching styles, learning motivation, classroom atmosphere, and students’ learning effectiveness in junior high school in Kaohsiung” for the investigation. Random stratified sampling is used to select 383 students in junior high school. The statistics methods used in this study include factor analysis, reliability analysis, descriptive statistics, T-test, one-way ANOVA, Pearson’s correlation, and multiple regression analysis. The findings are summarized as follows: 1. The teachers’ teaching styles has a positive and significant effect on students’ learning effectiveness. 2. The teachers’ teaching styles has a positive and significant effect on students’ learning motivation. 3. Students’ learning motivation has a positive and significant effect on their learning effectiveness. 4. Classroom atmosphere has a positive and significant effect on students’ learning effectiveness. 5. Classroom atmosphere has a partially positive moderating effect on the relationship between the teachers’ teaching styles and students’ learning effectiveness. 6. Classroom atmosphere has no moderating effect on the relationship between the learning motivation and students’ learning effectiveness. According to the results of the study, the study provides the specific suggestions for schools, teachers, students, and future research.
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Gous-Kemp, Catharina Susanna. "The creative use of music to support learning disabled learners in an inclusive classroom : a continuous professional learning programme in distance education." Thesis, 2009. http://hdl.handle.net/10500/2666.
Full textAbstract:
In the past decade, education has undergone fundamental changes, such as the simultaneous implementation of Outcomes-based Education and Inclusive Education. A study of different sources has led me to realise that many teachers lack the skills needed to cope with a diversity of learners in their classrooms, which results directly and indirectly in a drop in teacher morale, which in turn causes emotional problems like stress and a lack of motivation. This has a spill-over effect on the learners in their classes, who have no role model for their emotional development and often have weak results. I argued that proof exists that music can alleviate stress, while creative skills can help teachers to better cope with their emotions and develop more effective problem-solving skills, which will help them to attain emotional stability and better academic results in the inclusive classroom. The purpose of the study was to determine how to design an effective continuous learning programme for distance education. The purpose of the programme is to train teachers to use music creatively to support learners experiencing learning difficulties. The information obtained by means of a literature study was used to develop the first draft of the programme, Music for All.
After the first draft of the programme had been developed, the skills of experts in the fields of creativity, music and materials development in open and distance learning were utilised to evaluate the programme. This was done by applying the principles of the Delphi Method to ensure a sound theoretical and practical base for the course. A summary of the aspects that should be considered when developing such a programme (as identified during the literature study and through the evaluation by experts) was put forward and it was concluded that the knowledge and experience of the experts greatly enhanced the practical value of the programme.Educational Studies
D.Ed. (Inclusive Education)
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Kim, Ji Hyun. "General music teachers' practices of cooperative learning in two elementary music classrooms." Thesis, 2018. https://hdl.handle.net/2144/30072.
Full textAbstract:
The purpose of the study was to examine general music teachers’ practices of cooperative learning in two elementary music classrooms. Using the intrinsic case study method, I examined elementary general music teachers’ perspectives on cooperative learning, the utilization of cooperative learning in their general music classrooms, and the challenges the music educators faced in creating and implementing cooperative learning.
I selected one general music classroom in two elementary schools in Boston, Massachusetts—totaling two general music teachers from different schools. I conducted eight class observations and three interviews for each participant during the fall 2016 semester. From separate and cross-case analyses, I found the following: (1) the two teachers’ instructions were linked to the characteristics of cooperative learning, (2) they believed that cooperative learning provided opportunities to improve students’ academic development in music and promote positive interpersonal relationships, and (3) both teachers used their own strategies for cooperative learning in order to maximize students’ learning. These findings provided evidence that cooperative learning engaged students in the process of learning music and, in addition, fostered positive interpersonal relationships. Moreover, this study suggested that music educators might undertake an effort to thoroughly understand students’ cognitive development when they wish utilize cooperative learning. Although this study was subject to a number of limitations due to its scope, the findings may contribute to the body of research on cooperative learning in elementary music education.
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(9788789), Jacqueline Cooper. "Teaching jazz voice performance education in Australian regional secondary schools: Investigating the challenges." Thesis, 2022. https://figshare.com/articles/thesis/Teaching_jazz_voice_performance_education_in_Australian_regional_secondary_schools_Investigating_the_challenges/19567813.
Full textAbstract:
This project sought to examine the challenges faced by classroom music teachers in regional Australian secondary schools when they taught senior music students who wished to add jazz vocal repertoire to their examination performance program. As a jazz voice clinician who has presented workshops in schools for over a decade, I have had informal discussions with classroom music teachers about what areas of their teaching they find the most challenging. Many of the teachers who had not been trained in singing or in jazz indicated that they feel inadequately prepared to guide those students wishing to perform jazz vocal repertoire for their senior music examinations. This project was borne out of my curiosity to examine if this was a common issue amongst classroom music teachers in Australia and inspired me to investigate if they faced other challenges.
Sixty regional secondary school classroom music teachers were surveyed in order to ascertain their level of teaching experience and musical background, how confident they were when teaching jazz as a genre, their familiarity with jazz vocal repertoire and what resources were already in use and being used effectively when working with senior jazz vocal students. Follow-up interviews with six regionally based secondary school classroom music teachers focused on their lived experiences teaching senior jazz vocal students in the classroom. Using a mixed methodology approach, the qualitative and quantitative data from the survey and interviews were analysed to identify common themes relating to the challenges the teachers faced when teaching jazz vocal students.
Analysis of the data suggests that while the teachers’ personal music interests are the key to developing their skills when teaching out of their area of expertise, they are time-poor. This is not only due to being part of a small music department and having to take on a bigger teaching role both in and out of the classroom, but also having to teach subjects other than music, or teaching out-of-field. The interview data also revealed that the pre-service teacher education courses for classroom music teachers should have more time allocated for learning practical skills that are needed in the classroom. These skills include conducting a band or choir or developing skills in playing a genre or instrument in which they have not been trained, such as jazz voice. This is reflective of the specialised and multi-faceted nature of teaching classroom music in regional Australia.
The teachers also indicated that they had experienced various types of isolation, including geographic, cultural, educational, and professional. One of the main findings was that teachers in regional areas struggle to access appropriate professional development due to the travel time and expense that travelling to a major city entails. The research has shown that as the teachers were not always able to attend professional development courses, especially on a topic as specific as learning jazz vocal repertoire, there is need for more targeted professional development courses and mentoring opportunities to be made available online or delivered to regional centres.
The project investigated what pedagogical resources were currently used and the extent to which the teachers’ own musical backgrounds help or hinder their ability to teach jazz voice confidently. In order to create appropriate resources which will be used by classroom music teachers it was important to determine what specific pedagogical resources are needed when guiding jazz vocal students through their senior music programs, and to ascertain what type of resources teachers prefer and will use. The interview data showed that the teachers predominantly prefer short, ten-minute videos that guide them step-by-step through teaching methods that will enable them to help their students extend their educational outcomes.
In summary, the findings of this research project have shown that teachers lack confidence when teaching jazz vocal students if they have not had experience in jazz or singing themselves. Their busy position as a regional classroom teacher leaves them with limited time for upskilling and travelling to professional development courses is often too time consuming and expensive. The knowledge that teachers would be interested in attending a professional development course on teaching jazz voice and would use resources that help them guide jazz vocal students provides an opportunity for developing further research into the creation of a multi-media package that offers guidance to the teacher in short modules that can also be counted towards their professional learning.
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Taylor, Geoffrey. "Music teachers' experiences of improvisation in band and orchestra classrooms." Thesis, 2018. https://hdl.handle.net/2144/27527.
Full textAbstract:
Many teachers do not consider improvisation relevant to band or orchestra, and available research indicates that it is one of the least utilized activities in these classrooms. Bandura’s (1977, 1997) self-efficacy theory can explain many of the attitudes teachers have towards improvisation, as well as its absence in the classroom. I sought to discover what role self-efficacy played in leading some teachers to incorporate improvisation into their band and orchestra classrooms. Using a three-interview model as espoused by Seidman (1998), I interviewed six teachers about their experiences with improvisation in their teaching practice. I discovered five emergent themes that the participants had in common. These themes fit into two categories—the development of beliefs about improvisation, and how those beliefs about improvisation affected participants’ behavior. I conclude with a discussion of implications for the field and suggest that future research focus on the presence or lack of improvisation instruction during teacher education programs, as well as the prevalence and efficacy of professional development workshops around improvisation.
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Andrews, Stephanie Kuna. "An examination of the integration of traditional core content areas in a kindergarten music classroom : a music specialist’s rationale, understandings, and perceptions." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-2845.
Full textAbstract:
The purpose of this research study was to examine the instructional strategies, rationale, understandings, and perceptions of an elementary music specialist, Michelle Roberts, regarding the integration of traditional core content areas (TCCAs) in the kindergarten music classroom. This study sought to scrutinize the characteristics and details of Michelle’s teaching through Elliot Eisner’s notions of educational connoisseurship and criticism and through his conceptualization of educational research and practice as art. A number of early childhood educators and researchers have stressed the importance and pedagogical efficacy of using interdisciplinary, holistic instructional approaches with young children. Such approaches have the potential to create space for a humanizing education in the early childhood classroom.
This qualitative research study was conducted at a public elementary school in a large, urban district in Texas, between September 18, 2009 and January 26, 2010. The participant was Michelle Roberts, an elementary music specialist with nearly 25 years of teaching experience. Data sources included classroom observations, examination of instructional artifacts, and semi-structured interviews.
Following analysis of the data, three conclusions concerning the music specialist’s rationale, understandings, and perceptions regarding the integration of traditional core content areas and kindergarten music instruction were drawn. First, Michelle’s rationale, understandings, and perceptions regarding the integration of the TCCAs and kindergarten music instruction were grounded in her wealth of teacher knowledge and skills and in her beliefs regarding teaching. Second, Michelle’s rationale for the integration of the TCCAs and kindergarten music instruction was that it allowed her to educate her students in the most fitting manner possible and that it made learning “solid” or “a complete picture” for the students. Third, Michelle’s perceptions and understandings regarding the integration of the TCCAs and kindergarten music instruction were grounded in three beliefs: (a) the integration of the TCCAs and music instruction is beneficial for young children; (b) it is important to maintain the integrity of the discipline of music when integrating instruction in the TCCAs and kindergarten music instruction; and (c) music cannot be taught in isolation from other content areas.text
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Wiens, Sonja. "Creating collaborative spaces for musical meaning-making: redefining the music specialist/classroom teacher relationship." 2013. http://hdl.handle.net/1993/18721.
Full textAbstract:
This study examines what and how classroom teachers and a music specialist learn on their own, with each other, and with their students when they engage in collaborative, multimodal teaching and learning experiences. Through excerpts from interviews, planning sessions, focus groups, and the retelling of classroom experiences, this action research-inspired narrative inquiry documents and explores the experiences of four elementary school teachers as they worked together over a 12-week period. Through a restructured music schedule—designed to facilitate sustainable integrated, multiple literacy experiences—the teachers collaborated with the children and with one another to co-construct authentic learning experiences which drew upon and expanded students' interests and inquiries, and which positioned music in new ways as another classroom language. The unfolding stories examined in this inquiry resonate with the ideas and the spirit of the atelier in Reggio Emilia schools, and they point to the importance of meaningful, collaborative relationships in teacher learning and reflection. The study has implications for the ways in which musical experiences may be structured, made more complex, and revalued in elementary schools.
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Foust, Brad. "Measuring arts integration teacher effectiveness in non-arts classrooms through student growth." Thesis, 2017. https://hdl.handle.net/2144/26422.
Full textAbstract:
John Dewey is known as the father of American experiential education. His
views on building understanding in children through experiences in a correlated
curriculum continue to influence educational practice to this day. His writings and
experiments with experiential education also influenced music and arts education,
most recently through the formation and implementation of arts integration
programs.
Several well-known arts integration program leaders cite Dewey as a
foundational figure in the existence of their initiatives. While influenced by Dewey,
programs such as the Kennedy Center Changing Education Through the Arts (CETA)
and the Chicago Arts Partnership in Education (CAPE) also are directly connected to
the modern testing movement, and often gauge program success through reporting
on a comparative analysis of standardized test scores. Current teacher evaluation
models also measure student growth, along with teacher effectiveness, through the
use of student test scores. Several arts education figures make an argument against
measuring success in the arts through the use of test scores, stating that the true
impact of study in the arts cannot be measured in this way.
This study piloted a model of measuring growth in arts integration
classrooms through the use of the Tennessee Fine Arts Student Growth Measures
(TFASGM) system, a portfolio-based teacher evaluation and student growth
measurement model. Teachers worked in control and treatment groups to
implement the TFASGM in general education classrooms. Along with using the
model, a teacher treatment group received targeted arts integration training, and
through the model’s results, the impact of the training through teacher effect scores
was also measured.
Results showed teachers receiving arts integration training produced more
significant student growth, and had a greater effect on student performance. Higher
levels of arts integration that are more closely aligned with Dewey’s experiential
education philosophy, such as process-based learning and the exploration of
concepts common to arts and non-arts subjects, were also observed. More study,
including a wider-scale implementation of the TFASGM in arts integration
classrooms, is needed to make more substantial conclusions. However, this study
demonstrates the viability of a growth-based arts teacher evaluation model in arts
integration classrooms, and a new way of reporting on the success of arts
integration programs that is in line with Dewey’s experiential, growth-based
philosophy.
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Butler, Peter Maurice. "Primary school music education: a study of teachers, composers and original works in a pedagogical context." Phd thesis, 2015. http://hdl.handle.net/1885/101810.
Full textAbstract:
This research project addresses the nature and function of
compositions within the context of primary school music
education. A longitudinal review of the literature, and the
analysis of empirical data gathered in this research reveal the
shortcomings between teachers’ expressed requirements and the
currently available works. The researcher’s survey of over 1000
popular primary music resources by prominent Australian music
education composers reveals the great majority are designed
primarily for sing-alongs and basic percussion play-along. The
melodic and rhythmic notational complexity of most of the music
exceeds the music literacy level of all but a very small
percentage of primary teacher graduates. It is intentionally
published in a format that does not require music literacy.
Through qualitative research methods, including the analysis of
data gathered within interviews with educational practitioners
and composers from Victoria and Tasmania, this project identifies
and explores several deficiencies in music for primary school
programs. The exegetical component of this research examines the
nature and function of music used in Foundation to Year 6 school
music classes across Australia. This research also incorporates
an extensive portfolio of original works for primary music
education settings. The identified gaps between teachers’
expressed requirements and currently available songs and music,
inform the nature and design of the accompanying portfolio.
Underpinned by the research findings, the folio caters for the
needs and ability levels of the least musically experienced
trainee and graduate teachers, as well as the most musically
proficient Kodaly and Orff practitioners.
The research undertaken within this project suggests the choice
of compositions used by primary school music teachers in
Australia is largely influenced by the musical and pedagogical
expertise of the teachers themselves. Conflicting school issues,
such as timetabling, resources and school performance
expectations exacerbate the parlous state of primary school music
education. The nature and function of compositions used in
primary teaching is also influenced by the musical and
educational ideologies of composers producing music teaching
resources. The music teachers interviewed within this research
voiced dissatisfaction with the limited flexibility and narrow
application of many current resources. They expressed a need for
instructional songs, concert items and thematic cross-discipline
items. They voiced a preference for music that incorporates
physicality: actions, dances, movement and instrumental
performance. Their unanimous enthusiasm for music teaching
resource publications that include digital projections, music
recordings and videos of demonstration lessons also emerged as a
theme within the data.
This project offers a practical, research-based resource for
primary school music teachers. The exegetical component of the
research includes a description of the musical and pedagogical
design of the portfolio, and an explanation of the manner in
which they address the identified gaps in educational resources.
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"Perceptions of effective teaching and pre-service preparation for urban elementary general music classrooms: A study of teachers of different cultural backgrounds in various cultural settings." UNIVERSITY OF SOUTH FLORIDA, 2009. http://pqdtopen.proquest.com/#viewpdf?dispub=3326036.
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